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The Quest for CardenioShakespeare, Fletcher, Cervantes, and the Lost Play$
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David Carnegie and Gary Taylor

Print publication date: 2012

Print ISBN-13: 9780199641819

Published to Oxford Scholarship Online: September 2012

DOI: 10.1093/acprof:oso/9780199641819.001.0001

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Theobald Restor’d: Double Falsehood at the Union Theatre, Southwark

Theobald Restor’d: Double Falsehood at the Union Theatre, Southwark

Chapter:
(p.356) 22 Theobald Restor’d: Double Falsehood at the Union Theatre, Southwark
Source:
The Quest for Cardenio
Author(s):

Peter Kirwan

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780199641819.003.0022

In January 2011, MokitaGrit produced the first professional production of Double Falsehood since the eighteenth century. This review pays particular attention to the implications of producing Double Falsehood as a piece in its own right rather than as the basis for reconstruction of Cardenio. A combination of relative textual fidelity and creative non-verbal decisions allows the play to be entertainingly staged, drawing out class divisions that underpin the dynamic between the lovers and amongst their parents. In making a case for the effectiveness of Theobald’s play on the modern stage, the production usefully, if unintentionally, encouraged audiences to move away from questions of authenticity and authorship to consideration of the extant play’s theatrical worth.

Keywords:   Performance, adaptation, MokitaGrit, Double Falsehood, Theobald, Cardenio, Southwark Theatre

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