The Shakespeare Conference: SHK 10.1765  Tuesday, 19 October 1999.

[1]     From:   Vince Locke <
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        Date:   Monday, 18 Oct 1999 08:00:16 PDT
        Subj:   Re: SHK 10.1758 Re: Mute Cordelia in Washington

[2]     From:   Dana Shilling <
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        Date:   Monday, 18 Oct 1999 16:02:13 -0400
        Subj:   Re: SHK 10.1758 Re: Mute Cordelia in Washington

[3]     From:   H. R. Greenberg <
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        Date:   Monday, 18 Oct 1999 21:02:19 EDT
        Subj:   Re: SHK 10.1758 Re: Mute Cordelia in Washington


[1]-----------------------------------------------------------------
From:           Vince Locke <
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Date:           Monday, 18 Oct 1999 08:00:16 PDT
Subject: 10.1758 Re: Mute Cordelia in Washington
Comment:        Re: SHK 10.1758 Re: Mute Cordelia in Washington

In response to Harry Teplitz's question regarding the use of an "alien"
Cordelia and Fool, I read an interview w/ director Michael Kahn in which
he said that he wanted Cordelia to seem like she came from a different
family than her sisters.  This is an intriguing idea, since it would
play up the parallel theme of Edmund/Edgar's relationship.  How this
relates to the Fool though, I have no idea.

[2]-------------------------------------------------------------
From:           Dana Shilling <
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Date:           Monday, 18 Oct 1999 16:02:13 -0400
Subject: 10.1758 Re: Mute Cordelia in Washington
Comment:        Re: SHK 10.1758 Re: Mute Cordelia in Washington

In response to Jimmy Jung, it was not at all uncommon for Victorian
productions to cast a woman as the Fool, probably in the interests of
pathos. Shakespeare in Performance (by Parsons & Mason, published by
Salamander Books in 1995) has a truly ineffable photograph of one Mrs.
Poole in the role in 1863.

Dana (Shilling)

[3]-------------------------------------------------------------
From:           H. R. Greenberg <
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Date:           Monday, 18 Oct 1999 21:02:19 EDT
Subject: 10.1758 Re: Mute Cordelia in Washington
Comment:        Re: SHK 10.1758 Re: Mute Cordelia in Washington

While registering the difficulties described, I found the bond between
Cordelia and the Fool, always implicit, here most poignantly explicit.
Better than average production. Fine Kent. Very good Lear.  HRG MD ENDIT