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Highlights from the article include a brief history of the formation of The
Norwich Players and the Maddermarket theatre and the financial arrangements required to get the Elizabethan style playhouse off the ground. Also mentioned are details about the opening night 23 September 1921 presentation of
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On this stage, Monck and his company kept up a steady stream of performance. The repertory, which changed at a rate of one per month, included all of
Shakespeare's work, of course, as well as numerous other Renaissance plays and many modern works. By the early 1950s, he had produced over 200 plays.
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Additionally, Monck is posthumously credited with an article in the 1959 Shakespeare Survey, volume 12, about the
Maddermarket Theatre. The article was derived from a paper presented by Monck at the Shakespeare Conference, Stratford-upon-Avon, on 5 September 1957. His death is reported to have
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and restored some of the vital conditions of
Renaissance stagecraft. For the same reason, he aided scholars in exploring their own theories about Elizabethan practice; for example, his ruthlessly cut performances provided insight into the "two hours traffic" of the Renaissance stage.
250:) is a plant that since medieval times had been used to dye Norwich cloth. Originally seating 220, the theater was expanded in 1953 to seat 324. Audiences viewed plays staged on a replica of a Renaissance stage, the first such permanent stage since before the
304:"As You Like It" and many subsequent productions from the Shakespeare Canon. Production descriptions talk about specific staging requirements. He also states that he managed to deliver the entire Shakespeare cycle during his 56 years with the company.
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While generally considered less innovative and less imaginative than Poel, Monck was an influential director both for directors and for scholars. For directors, he continued Poel's destruction of the legacy of actor-managers such as
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These words adequately sum up his perspective, "These remarks are not those of a scholar, not of an original thinker, but of a man who has spent his life trying to put
Shakespeare simply on the stage."
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Despite his isolation from London, he was among the more influential mid-century producers. From the mid-30s on, he occasionally directed in London and
Stratford. These productions included a
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Monck retired from his positions in 1952, but he remained intermittently active with the company until his death in 1958.
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The same year, Monck formed a troupe of amateur players to produce
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while Yeats and the main company toured the United States.
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Church of Saint John the
Baptist, Maddermarket, Norwich
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factory. Monck named his theatre after the adjoining
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328:Salmon, Eric. "Monck, (Walter) Nugent Bligh".
205:In 1911, he directed an amateur production of
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334:(online ed.). Oxford University Press.
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43:Relevant discussion may be found on the
331:Oxford Dictionary of National Biography
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122:(1878–1958) was an English
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168:That same year, Monck met
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16:English theatre director
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151:Royal Academy of Music
208:The Countess Cathleen
192:His Majesty's Theatre
155:Bjørnstjerne Bjørnson
64:"Walter Nugent Monck"
128:Maddermarket Theatre
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284:in London in 1953.
252:English Restoration
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211:which was seen by
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248:rose madder
232:World War I
139:Welshampton
362:Categories
350:required.)
143:Shropshire
75:newspapers
281:King Lear
271:Cymbeline
268:in 1947;
165:in 1901.
147:Liverpool
105:July 2020
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