Revived with Care

<p>This book presents a ground-breaking, comprehensive study of the modern performance history of plays in the John Fletcher canon, excluding his collaborations with Shakespeare. It examines how seventeen of Fletcher’s plays have been interpreted in British productions. </p><p>In addition, the book offers a consideration of the contexts in which these productions took place, from the early twentieth century ‘Elizabethan Revival’ to the more politicized theatrical cultures of the 1960s and beyond. </p><p>Revived with Care opens a window on some of the theatrical developments of the past 135 years, in the context of radical changes in the presentation and reception of early modern drama, while for theatre practitioners it provides ideas and inspiration for exploring little-known but powerful plays in exciting new productions. </p><p>The book will be of great interest to students, scholars and practitioners working in the field of theatre and performance studies.</p> <p><em>Preface and acknowledgements</em>; <i>Notes on the text</i>; Introduction: ‘Their care was good that did revive this play’; 1. ‘Bum-fiddled with a bastard’: misconstruing <i>The Chances</i>; 2. ‘You should have kept your legs close then’: misogynistic discourse in <i>The Coxcomb </i>and <i>Bonduca</i>; 3. ‘There is another way, if you could hit on’t’: sexual, social and political behaviours in <i>The Scornful Lady </i>and <i>The Humorous Lieutenant</i>; 4. ‘A poem and a play too!’: <i>The Faithful Shepherdess </i>and the possibility of poetic drama; 5. ‘What pretty new device is this?’: confronting the transgressive in <i>The Maid’s Tragedy</i>; 6. ‘Wooing and wiving? Hang it!’: performance, power and sexual politics in <i>Rule a Wife and Have a Wife </i>and <i>The Wild-Goose Chase</i>; 7. ‘Am I not your king? If ay, then am I not to be obeyed?’: <i>Philaster</i>, <i>A King and No King </i>and the depoliticizing of tragicomedy; 8. ‘You looked with my eyes when you took that man’: re-visioning <i>The Maid’s Tragedy</i>; 9. ‘A man of arms, and daunted with a lady?’: women in power and colonial excursions in <i>The Island Princess</i>, <i>The Woman’s Prize </i>and <i>The Sea Voyage</i>; 10. ‘Turn this man woman, or this woman man’: deconstructing gender in <i>The Custom of the Country</i>, <i>Love’s Cure </i>and <i>The Woman Hater</i>; <i>Appendix 1: the plays in the John Fletcher canon</i>; <i>Appendix 2: British Fletcher productions 1885–2020</i>; <i>Bibliography</i>; <i>Index</i></p>