Laury Magnus’s edition of The Comedy of Errors is a treasure—it gives us all the footnotes Kittredge never himself wrote along with a superb collection of production photographs of a wide variety of performances and extended production notes. The introduction is comprehensive in establishing the various ideas and dimensions of a play mistakenly thought to be the simple Roman farce of a young playwright. And teachers will find the extended list of assignments as suggestively fruitful as students reading the play for the first time. This combination is a real winner.
- Arthur F. Kinney, University of Massachusetts, Amherst
Even as the New Kittredge Shakespeare series glances back to George Lyman Kittredge's student editions of the plays, it is very much of our current moment: the slim editions are targeted largely at high school and first-year college students who are more versed in visual than in print culture. Not only are the texts of the plays accompanied by photographs or stills from various stage and cinema performances: the editorial contributions are performance-oriented, offering surveys of contemporary film interpretations, essays on the plays as performance pieces, and an annotated filmography. Traditional editorial issues (competing versions of the text, cruxes, editorial emendation history) are for the most part excluded; the editions focus instead on clarifying the text with an eye to performing it. There is no disputing the pedagogic usefulness of the New Kittredge Shakespeare's performance-oriented approach. At times, however, it can run the risk of treating textual issues as impediments, rather than partners, to issues of performance. This is particularly the case with a textually vexed play such as Pericles: Prince of Tyre. In the introduction to the latter, Jeffrey Kahan notes the frequent unintelligibility of the play as originally published: "the chances of a reconstructed text matching what Shakespeare actually wrote are about 'nil'" (p. xiii) But his solution — to use a "traditional text" rather than one corrected as are the Oxford and Norton Pericles — obscures how this "traditional text," including its act and scene division, is itself a palimpsest produced through three centuries of editorial intervention. Nevertheless, the series does a service to its target audience with its emphasis on performance and dramaturgy. Kahan's own essay about his experiences as dramaturge for a college production of Pericles is very good indeed, particularly on the play's inability to purge the trace of incestuous desire that Pericles first encounters in Antioch. Other plays' cinematic histories: Annalisa Castaldo's edition of Henry V contrasts Laurence Oliver's and Branagh's film productions; Samuel Crowl's and James Wells's edition of (respectively) I and 2 Henry IV concentrate on Welle's Chimes at Midnight and Gus Van Sant's My Own Private Idaho; Patricia Lennox's edition of As You Like It offers an overview of four Hollywood and British film adaptations; and John R. Ford's edition of A Midsummer Night's Dream provides a spirited survey of the play's rich film history.
The differences between, and comparative merits of, various editorial series are suggested by the three editions of The Taming of the Shrew published this year. Laury Magnus's New Kittredge Shakespeare edition is, like the other New Kittredge volumes, a workable text for high school and first year college students interested in film and theater. The introduction elaborates on one theme — Elizabethan constructions of gender — and offers a very broad performance history, focusing on Sam Taylor's and Zeffirelli's film versions as well as adaptations such as Kiss Me Kate and Ten Things I Hate About You (accompanied by a still of ten hearthtrobs Heath Ledger and Julia Stiles). The volume is determined to eradicate any confusion that a first time reader of the play might experience: the dramatis personae page explains that "Bianca Minola" is "younger daughter to Baptista, wooed by Lucentio-in-disguise (as Cambio) and then wife to him, also wooed by the elderly Gremio and Hortensio-in-disguise (as Licio)" (p.1). Other editorial notes, based on Kittredge's own, are confined mostly to explaining individual words and phrases: additional footnotes discuss interpretive choices made by film and stage productions. Throughout, the editorial emphasis is on the play less as text than as performance piece, culminating in fifteen largely performance-oriented "study questions" on topics such as disguise, misogyny, and violence.
Studies in English Literature, Tudor and Stuart Drama, Volume 51, Spring 2011, Number 2, pages 497-499.
In The Comedy of Errors we seem almost to stand again by the cradle of new-born comedy, and hear the first lisping and laughing accents run over from her baby lips in bubbling rhyme; but when the note changes we recognize the speech of gods.”
Gr 6–9—These brief adaptations of individual plays have attractive, full-color panels illustrating the action and incorporating dialogue taken directly from the scripts. Each volume includes a cast list, a brief description of the setting, a short summary and analysis of the play, several famous phrases, a biography of the Bard, and list of his additional works. The artwork for As You Like It, Cymbeline, and The Comedy of Errors is done in a light palette of bright colors and pastels nicely suited to the subject matter, with characters drawn in a style heavily influenced by Japanese manga. Allen's illustrations for Henry VIII are more workmanlike and are in dark colors with numerous touches of royal purple. These books would probably work best as introductions to the plays for younger students or reluctant readers, as the additional materials and analysis are very basic. However, Cymbeline and Henry VIII seem odd choices for graphic adaptations for this age group, given that they are seldom if ever taught at the middle or high school level. As You Like It and The Comedy of Errors would probably receive more use. Purchase where needed.—Kathleen E. Gruver, Burlington County Library, Westampton, NJ
