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The Arden Shakespeare : Third series

by Mansfield, Richard, Philip Lindsay, W. J. Rolfe
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3.8
14 ratings
2
BOOKS
591
PAGES
~9h 51min
READING TIME

About Author

Mansfield, Richard

Kathleen Mansfield Murry (née Beauchamp; 14 October 1888 – 9 January 1923) was a New Zealand writer and critic who was an important figure in the modernist movement. Her works are celebrated across the world and have been published in 25 languages. Born and raised in a house on Tinakori Road in the Wellington suburb of Thorndon, Mansfield was the third child in the Beauchamp family. She began school in Karori with her sisters, before attending Wellington Girls' College. The Beauchamp girls later switched to the elite Fitzherbert Terrace School, where Mansfield became friends with Maata Mahupuku, who became a muse for early work and with whom she is believed to have had a passionate relationship.

Description

New National Theatre, W.H. Rapley, manager, T. Arthur Smith, treasurer. Mr. Richard Mansfield in a revival of Shakespeare's immortal war play "King Henry V." Manager Mr. A.M. Palmer, stage manager Mr. Thomas F. Graham. Scenery by Richard Marston, costumes worn by Mr. Mansfield as Henry V, by Maurice Hermann, other costumes by Arnold Constable & Co, Van Horn & Sons, Madam Simon and Mrs. Helen Windsor.

How the series evolves

beginning
King Henry V
3.8· strong start
finale
Oserō
0.0· messes up the ending
overall
1.9· better in the beginning

Books in this Series

King Henry V

Mansfield, Richard, Philip Lindsay
3.8 (14)
0

New National Theatre, W.H. Rapley, manager, T. Arthur Smith, treasurer. Mr. Richard Mansfield in a revival of Shakespeare's immortal war play "King Henry V." Manager Mr. A.M. Palmer, stage manager Mr. Thomas F. Graham. Scenery by Richard Marston, costumes worn by Mr. Mansfield as Henry V, by Maurice Hermann, other costumes by Arnold Constable & Co, Van Horn & Sons, Madam Simon and Mrs. Helen Windsor.

Oserō

W. J. Rolfe
0.0 (0)
0

This edition of 'Othello' sheds new light on the text of the play as we have come to know it, and on our knowledge of its early history. Honigmann examines the major critical issues, the play in performance and the relationship between reading it and seeing it. He also explores topics such as its date, sources and the conundrum of 'double time'.