"The Rediscovery of Queen Margaret: The Wars of the Roses, 1963." New Theatre Quarterly 4, no. "Recycling the Early Histories: The Wars of the Roses and The Plantagenets." Shakespeare Survey 43 (1991): 171-81. A Band of Arrogant and United Heroes: The Story of the Royal Shakespeare Company Production of "The Wars of the Roses." London: Adelphi Press, 1990. " The Wars of the Roses: Space, Shape, and Flow." Shakespeare Bulletin 13, no. "Finding 'a Heap of Jewels' in 'Lesser' Shakespeare: The Wars of the Roses and Richard Duke of York." New England Theatre Journal 7 (1996): 95-107. Newark: University of Delaware Press London: Associated University Presses, 2003.
"Materialist Shakespeare and Ideological Performance: Michael Bogdanov and Shakespeare in Production." In Shakespeare Matters: History, Teaching, Performance, edited by Lloyd Davis, 294-301. Review of The War of the Roses, Part 1 & Part 2, Sidney Theatre Company, Australia.
" The Wars of the Roses: Scholarship on the Stage." Shakespeare Jahrbuch (East), CVIII, 1972. Newark: University of Delaware Press, 1985. "Feats of Broils and Arms: The Wars of the Roses (1963) and The Henriad (1964)." In Directions by Indirections, 39-62. Baton Rouge: Louisiana State University Press, 1981. "The Bogdanov Version: The English Shakespeare Company Wars of the Roses." Literature/Film Quarterly 33, no. Stroud, England: Tempus, 2002.įuller, David. William Shakespeare, "The Wars of the Roses," and the Historians. "The Shakespearean Tetralogy." Shakespeare Quarterly 36, no. Observer, April 8, 2006.Ĭrane, Mary Thomas. "Plots Thinned and Accents Thickened." Review of Wars of the Roses, Northern Broadsides, West Yorkshire Playhouse, Leeds. "Margaret of Anjou." Shakespeare Jahrbuch (West) 109 (1973): 7-9.īarton, John, and Peter Hall. Both were recorded and are available for purchase.
The English Shakespeare Company also staged a similar cycle. The character of Queen Margaret, played by Peggy Ashcroft, emerged as one of Shakespeare's most complex and sustained characterizations. Nevertheless, the cumulative effect was to establish the series as one of Shakespeare's greatest achievements, after neglect of many of them individually. In practice, the RSC vision was more dark and critical than adulatory to its subject, showing an England run by sinister and often incompetent egotists. Tillyard that the sequence represented a kind of epic vision of English history and character, his interest no doubt fostered by an intense sense of Englishness in the face of German challenge in World War II. This series of plays (comprising the two tetralogies of English history plays) was unique in presenting them as a coherent whole, aided by heavy editing and rewriting by Peter Hall and John Barton at the RSC, to celebrate the tercentenary Shakespeare's birth.
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