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-language productions, often marked by their thick foreign accents. 2 Warren Mitchell played the role in the 1982 BBC television production with a heavy Yiddish inflection, while Henry Goodman (in Trevor Nunn’s production [National Theatre, 1999–2000; TV 2001]) briefly

could be written by someone from the northern working class, during the intermission at a production of his adaptation of Molière’s The Misanthrope (1973) at the National Theatre in London: ‘He has such a command over language, but they say he comes

. In 2001 and for five consecutive seasons, Fakharānī played Lear in Shakespeare’s play, staged at the National Theatre in classical Arabic using translations by professors Mohamed Enani and Fatma Moussa Mahmoud. Noting how Egyptian audiences empathize

and screen: productions of Timon of Athens exploring the topicality of the post-Lehman Brothers crisis, such as Nicholas Hytner’s for the National Theatre in 2012, promptly come to mind; but ‘corporate Shakespeare’ predated the events that marked and

‘official’ government-sanctioned theatre saw less and less of the vernacular. In 1935, the government established the National Theatre Troupe, which, backed by some of the biggest names of the time in Egyptian literature and theatre, such as Taha Hussein

even social commentary thus tends to be oblique and coded – as this article argues is the case with The Dark Night . Al-Izkī created The Dark Night for the 2010 Gulf Youth Theatre Festival, hosted that year by Qatar at the National Theatre in Doha

the National Theatre complex has been named the Olivier Theatre since its opening in 1976. 4 Peter Billingham, ‘Rosalinds, Violas, and Other Sentimental Friendships: The Osiris Players and Shakespeare, 1939–1945’, in Shakespeare and the Second World

two dramas, Bozhana (1914) and Magda (1918), in the National Theatre. Mars adopted patriotic and pro-Russian themes from Vazov, as well as his interest in Western, mainly French, literature, which greatly influenced the formation of her ideological

published in 1888. 44 The protagonist, Topra-Heikki, is a poor worker who takes justice into his own hands after becoming unemployed. The play caused a scandal in the Finnish National Theatre, and it was performed only once. 45 The nationalist press wanted