William Shakespeare

Plays by William Shakespeare

video Coriolanus (Donmar Warehouse / NT)

National Theatre
Type: Video

Age recommendation: 12+

This Donmar Warehouse production was recorded through National Theatre Live on 30th January, 2014

When an old adversary threatens Rome, the city calls once more on her hero and defender: Coriolanus. But he has enemies at home too. Famine threatens the city, the citizens’ hunger swells to an appetite for change, and on returning from the field Coriolanus must confront the march of realpolitik and the voice of an angry people.

Shakespeare’s searing tragedy of political manipulation and revenge, Coriolanus features an Evening Standard Award-winning performance from Tom Hiddleston in the title role, directed by the Donmar's former Artistic Director Josie Rourke.

First Citizen: Rochenda Sandall
Second Citizen: Mark Stanley
Third Citizen: Dwane Walcott
Menenius: Mark Gatiss
Caius Martius Coriolanus: Tom Hiddleston
Cominius: Peter de Jersey
Titus Lartius: Alfred Enoch
Brutus: Elliot Levey
Sicinia: Helen Schlesinger
Aufidius: Hadley Fraser
Volumnia: Deborah Findlay
Virgilia: Birgitte Hjort Sørensen
Valeria, Fourth Citizen: Jacqueline Boatswain
Young Martius: Joe Willis

Director: Josie Rourke
Designer: Lucy Osborne
Lighting Designer: Mark Henderson
Sound Designer: Emma Laxton
Video Designer: Andrzej Goulding
Composer: Michael Bruce
Movement: Jonathan Watkins
Fight Director: Richard Ryan

video Coriolanus (RSC)

The Royal Shakespeare Company
Type: Video

Caius Martius Coriolanus is a fearless soldier but a reluctant leader. His ambitious mother attempts to carve him a path to political power, but he struggles to change his nature and do what is required to achieve greatness. In this new city state struggling to find its feet, where the gap between rich and poor is widening every day, Coriolanus must decide who he really is and where his allegiances lie.

For teacher resources, visit this page.


Bloomsbury Publishing
Type: Text

The intricate plot of Cymbeline folds comic, romantic, tragic and historical modes into a bittersweet and experimental play. Though listed under the ‘Tragedies’ in its first appearance in the 1623 First Folio, the play’s diverse elements of murderous jealousy, Roman invasion, dark schemes of sexual assault, female transvestism, passionate love, court, country and fairy-tale are all harmoniously and peacefully reconciled in marriage. Thought to have been written around 1608-10, the playgoing doctor Simon Forman noted seeing the play at the Globe in April 1611. Some critics have wondered if Cymbeline, as other late Shakespeare plays, could be a collaboration; the play’s similarity to Beaumont and Fletcher’s Philaster (c.1608-10) has led to debate as to which may have borrowed from which. Sources for Cymbeline include Geoffrey of Monmouth’s Historia Regum Britanniae (c.1136), Boccaccio’s Decameron (1353), Holinshed’s Chronicles (1577-87), and the anonymous romantic drama The Rare Triumphs of Love and Fortune (1582).

Cymbeline, King of Britain is furious with his daughter Imogen for marrying Posthumus, because he wanted to marry her step-brother Cloten (son of Cymbeline’s second wife, the Queen). Posthumus is banished. In Rome, he meets Iachimo, who wagers that he will be able to sleep with Imogen.

Iachimo, failing to seduce Imogen, hides in a chest and is carried into her bedchamber. Once she is asleep he steals a bracelet given to her by Posthumus. Back in Rome, this convinces Posthumus of Imogen’s infidelity.

Cymbeline refuses to pay the tribute due to Augustus Caesar, and the Roman ambassador Lucius promises war. Posthumus writes to his servant Pisanio instructing him to kill Imogen; instead Pisanio advises Imogen to dress as a man and accompany Lucius to Rome. She goes as ‘Fidele’ to Milford-Haven to meet the departing Lucius. Cloten, believing that Posthumus will also be at Milford-Haven, wears Posthumus’ clothes and follows Imogen there. He intends to kill her husband and rape her.

On her way ‘Fidele’ meets Belarius and his two sons Guiderius and Arviragus – who are actually Cymbeline’s sons, stolen away in their infancy. Cloten arrives and Guiderius kills him.

‘Fidele’ is ill, and drinks a potion given to her by Pisanio, thinking it is a remedy. The Queen thought it was poison and intended it for Posthumus, but the potion creates the only the appearance of death. Her brothers, believing ‘Fidele’ to be dead, place her next to Cloten’s body - still in Posthumus’ clothes. Imogen wakes to what appears to be her husband’s headless corpse. She is found by Lucius and taken into his service.

The returned Posthumus, disguised as a peasant, fights against the Roman invaders. Belarius, Guiderius and Arviragus also fight, saving Cymbeline. Posthumus re-disguises as a Roman, hoping for death; in prison he has an apparition of ghosts and Jupiter. The characters gather in front of Cymbeline. The Queen has died and her trick with the poison is exposed, as is Iachimo’s deception. Posthumus and Imogen are reunited, the identity of Belarius and Cymbeline’s sons is revealed, and Cymbeline makes peace with Rome.

video Cymbeline (RSC)

The Royal Shakespeare Company
Type: Video

Britain is in crisis. Alienated, insular and on the brink of disaster. Can it be saved? An ineffectual Queen Cymbeline rules over a divided dystopian Britain. Consumed with grief at the death of two of her children, Cymbeline’s judgement is clouded. When Innogen, the only living heir, marries her sweetheart Posthumus in secret, an enraged Cymbeline banishes him. Behind the throne, a power-hungry figure plots to seize power by murdering them both. In exile, Innogen’s husband is tricked into believing she has been unfaithful to him and, in an act of impulsive jealousy, begins a scheme to have her murdered. Warned of the danger, Innogen runs away from court in disguise and begins a journey fraught with danger that will eventually reunite Cymbeline with a longlost heir and reconcile the young lovers.

For teacher resources, visit this page.

Double Falsehood or the Distressed Lovers

Bloomsbury Publishing
Type: Text

Double Falsehood, or The Distressed Lovers has long been the subject of scholarly and theatrical doubt. In 1728, Lewis Theobald, Shakespeare editor and struggling man of letters, published the play, claiming it to be his revision of a work ‘Written Originally by W. SHAKESPEARE’, of which he happened to be in the possession of three manuscript copies. Whilst many over the years have slammed this work as forgery (perhaps a play by James Shirley or Philip Massinger masquerading as Shakespeare), perhaps an attempt to jump on the bandwagon of the revivifying English theatre in the patriotic cultural politics of the eighteenth century, in the 1780s, Edmond Malone discovered records dating from the 1600s confirming a play by Shakespeare and his sometime collaborator, John Fletcher. This lost play, The History of Cardenio, performed by the King’s Men in 1613, and entered into the Stationer’s Register in 1652, has a plot and characterisation very close to Theobald’s revision. Any manuscripts Theobald may have had are thought to have perished in the fire that destroyed the Covent Garden Theatre Museum in 1808, and thus, the original play remains lost to a modern readership.

A story of passionate love and devastating betrayal, Double Falsehood follows the story of ‘Cardenio’, found in Cervantes’ Don Quixote (1605). At the hypothesised time of the play’s composition in the early 1610s, English literary culture was having a Cervantic ‘moment’, with Thomas Shelton translating the novel into English in 1607, publishing it in 1612. A Spanish play based on Cervantes’ work, Don Quixote de la Mancha (?1605-8) by Guillén de Castro, may also have been a direct source. In Theobald’s version, the libertine Henriquez has forced himself on the humble Violante, and abandoned her, leaving a heartless letter. He now sets about pursuing Leonora, who is engaged to his friend Julio. With the collusion of Leonora’s father Don Bernard, he forces her to the altar, having first lured Julio to court on a false errand. Warned by Leonora, Julio turns up in time to prevent the wedding and Leonora’s suicide. Julio is ejected from the house.

The grief-stricken Julio is living in a mountainous plateau. Violante is dressed as a shepherd and living nearby. Leonora has taken refuge in a nunnery in the same region; Henriquez is still pursuing her. Henriquez’s virtuous elder brother Roderick arrives in time to save Violante from being assaulted by the Master of the Flocks, who has seen through her transvestite disguise. Violante and Julio discover that they have both been wronged by Henriquez.

Roderick arranges for Leonora’s father, Julio’s father, Leonora and Violante to meet at a lodge. Violante, who is disguised as a page, confronts Henriquez with his cruel letter to her; she leaves and returns dressed as a woman, and Henriquez seems to fall in love with her anew. Leonora is reunited with Julio.

First produced at the Theatre Royal, Drury Lane in 1727, Double Falsehood has had no subsequent professional stage performance. Put on through the eighteenth century for private entertainment, in the twentieth and twenty-first centuries it has been reworked by scholars for private readings or university performances. Oxford general editor Gary Taylor attempted to work back and ‘undo’ Theobald’s emendations in order to recreate a work closer to the hypothesised Shakespeare and Fletcher original: first appearing at a private reading in New York in 2006, the play was staged as a public performance in Wellington, New Zealand, in 2009.

audio Hamlet

LA Theatre Works
Type: Audio

Shakespeare’s timeless story of revenge, corruption, and murder is considered one of the greatest works in the English language. Prince Hamlet sets out to avenge his beloved father's death at the hand of his uncle Claudius — but Hamlet's spiral into grief and madness will have permanent and immutable consequences for the Kingdom of Denmark. Composed over 400 years ago, Hamlet remains one of the theater’s most studied and performed works, and is presented here in a stunning, sound-rich full-cast recording.

An L.A. Theatre Works full-cast performance featuring: Josh Stamberg as Hamlet Stephen Collins as King Claudius JoBeth Williams as Queen Gertrude Stacy Keach as Ghost Alan Mandell as Polonius Emily Swallow as Ophelia JD Cullum as Laertes Matthew Wolf as Horatio Mark Capri as Ambassador and others Josh Clark as Gravedigger, Voltemand and others Henri Lubatti as Rosencrantz and others Jon Matthews as Guildenstern and others Darren Richardson as Player Queen and others André Sogliuzzo as Reynaldo and others Directed by Martin Jarvis. Recorded at the Invisible Studios, West Hollywood in August, 2011.

Featuring: Mark Capri, Josh Clark, Stephen Collins, JD Cullum, Stacy Keach, Henri Lubatti, Alan Mandell, Jon Matthews, Darren Richardson, Andre Sogliuzzo, Josh Stamberg, Emily Swallow, JoBeth Williams, Matthew Wolf

Hamlet (adapt. Norfolk)

Aurora Metro Books
Type: Text

Remember me . . . Denmark, a Black Empire of modern England, where an intelligent young student discovers the world he once knew has crumbled. Implored to defend what is left of his father's decaying legacy, Hamlet now faces the greatest moral challenge: to kill or not to kill. Adapted with Shakespeare's text by award-winning playwright Mark Norfolk, this fast-moving version gets straight to the heart of a young man's dilemma.

Contains interviews with adaptor, Mark Norfolk, and director Jeffery Kissoon, and a Preface, 'Performing Dialogues of Race and Culture', by Dr David Linton. An Education Resource Pack gives teachers and students information about the play, this production, and practical classroom games and exercises linked to the National Curriculum; presentation, discussing, role play and performance, improvisation, and writing (download on BTL website).

This fast-paced, all-Black, contemporary version of Hamlet has appeal across audiences young and old, those studying English and Drama at school, those recently introduced to Hamlet through popular TV adaptations and classic drama audiences. In particular, lovers of traditional drama and Shakespeare, schools and Black African & Caribbean audiences (including previous Black Theatre Live tours), as well as students studying Shakespeare and/or drama studies.

video Hamlet (Globe on Screen 2)

Globe on Screen
Type: Video

Encompassing political intrigue and sexual obsession, philosophical reflection and violent action, tragic depth and wild humour, Hamlet is a colossus in the story of the English language and the fullest expression of Shakespeare's genius.

Learning of his father's death, Prince Hamlet comes home to find his uncle married to his mother and installed on the Danish throne. At night, the ghost of the old king demands that Hamlet avenge his 'foul and most unnatural murder'.

video Hamlet (Maxine Peake as Hamlet)

Genesius Pictures
Type: Video

Shakespeare’s most iconic work, HAMLET explodes with big ideas and is the ultimate story of loyalty, love, betrayal, murder and madness. Hamlet’s father is dead and Denmark has crowned Hamlet’s uncle the new king. Consumed by grief, Hamlet struggles to exact revenge, with devastating consequences.
From its sell-out run at Manchester’s Royal Exchange Theatre comes the film version of their unique and critically acclaimed production, with BAFTA-nominee Maxine Peake in the title role. This ground breaking stage production, directed by Sarah Frankcom, was the Royal Exchange Theatre’s fastest-selling show in a decade.
HAMLET is brought to cinemas and DVD by film director Margaret Williams whose Written on Skin (Royal Opera House/BBC) won many awards including the Dispason d’Or. The film version of HAMLET is produced by Anne Beresford and Debbie Gray, the team behind the highly praised Peter Grimes on Aldeburgh beach, which Margaret also directed. Hamlet MAXINE PEAKE; Claudius/Ghost JOHN SHRAPNEL; Gertrude BARBARA MARTEN; Polonia GILLIAN BEVAN; Horatio THOMAS ARNOLD; Laertes ASHLEY ZHANGAZHA; Ophelia KATIE WEST; Marcella/Player King CLAIRE BENEDICT; Guildenstern PETER SINGH; Rosencrantz/2nd Gravedigger JODIE McNEE; Margaret/1st Grave Digger MICHELLE BUTTERLY; Bernardo/Osric/Player Queen BEN STOTT; Francisco/Reynaldo/Priest TACHIA NEWALL; Lucianus DEAN GREGORY; young company LEYLA PERCIVAL, NATASHA HYLTON, MATT BOYLAN; children LILY-BLOSSOM TAIT, LARA PROCTER, JAMES PRENTICE, JACOB RICHARDS. Directed for the stage by Sarah Frankcom and for the screen by Margaret Williams.

video Hamlet (NT)

National Theatre
Type: Video

Age recommendation: 12+

This production was recorded through National Theatre Live on 9th December, 2010.

Director Nicholas Hytner offers a detailed political, social and psychological context to Hamlet's dilemma: whether or not to avenge the death of his father.

Rory Kinnear plays Hamlet in this dynamic production of Shakespeare’s complex and profound play about the human condition. His performance earned him an Evening Standard Award.

Hamlet: Rory Kinnear
Barnado: Michael Peavoy
Francisco: Matthew Barker
Horatio: Giles Terera
Marcellus: Marcus Cunningham
Ghost of the Late King: James Laurenson
Claudius: Patrick Malahide
Voltemand: James Pearse
Priest: Leo Staar
Laertes: Alex Lanipekun
Polonius: David Calder
Gertrude: Clare Higgins
Cornelia: Ellie Turner
Reynaldo: Victor Power
Rosencrantz: Ferdinand Kingsley
Guildenstern: Prasanna Puwanarajah
Player Queen: Saskia Portway
Lucianus: Michael Sheldon
Fortinbras: Jake Fairbrother
Osric: Nick Sampson
Messenger: Zara Tempest-Walters
Ophelia: Ruth Nega
Gravedigger: David Calder
English Ambassador: Michael Sheldon
Captain in Fortinbras' army: Matthew Barker
Player King: James Laurenson

Director: Nicholas Hytner
Designer: Vicki Mortimer
Lighting Designer: Jon Clark
Composer: Alex Baranowski
Sound Designer: Paul Groothuis
Fight Director: Kate Waters

Picture of William Shakespeare

William Shakespeare (1564-1616) was an English dramatist, poet, and actor, generally regarded as the greatest playwright of all. His works have been performed more frequently and in more languages than those of any other dramatist in history. The official Shakespearean canon comprises the 36 plays of the first folio (1623), two collaborative contributions, the Sonnets, the long poems The Rape of Lucrece and Venus and Adonis, and a few lyrics. Most scholars now accept that he also wrote some scenes and speeches in the chronicle plays Edward III and Sir Thomas More.

Of Shakespeare's life little is certainly known apart from the approximate dates of his birth, marriage to Anne Hathaway, and death. From 1592 it is possible to find references to Shakespeare's early plays in the works of other writers and contemporary records show that he was also much admired for his poetry. Despite this, reliable information about Shakespeare's personal life, character, and beliefs remains virtually nonexistent, leading to much speculation on the basis of the plays.

Shakespeare's first work for the stage is usually considered to be the three parts of Henry VI, although the imprecise dating of his plays makes even this uncertain. By the mid 1590s Shakespeare was a shareholder in the Chamberlain's Men, who were later to become the King's Men. From 1599 his plays were presented at the new Globe Theatre, in which he owned a tenth share. The great tragedies that are usually seen as the summit of his achievement were written over the next six or seven years. By about 1610 he had made enough money to retire to the second largest house in Stratford. He had been dead for seven years before two of his friends arranged and paid for the publication of the First Folio.

The theory that Shakespeare was not the writer of the works attributed to him was first put forward by Herbert Lawrence in 1769. 'The striking peculiarity of Shakespear's mind was its generic quality, its power of communication with all other minds - so that it contained a universe of thought and feeling within itself, and had no one peculiar bias, or exclusive excellence more than another. He was just like any other man, but that he was like all other men. He was the least of an egotist that it was possible to be. He was nothing in himself; but he was all that others were, or that they could become', William Hazlitt: Lectures on the English Poets (1818).