Performance History
The earliest known performance took place in 1737, when John Rich staged a production at the Theatre Royal, Drury Lane. In 1745, the year of the Jacobite rebellion, competing productions were staged by Colley Cibber at Covent Garden and David Garrick at Drury Lane. Charles Kemble's 1823 production made a serious effort at historical accuracy, inaugurating the 19th century tradition of striving for historical accuracy in Shakespearean production. Other successful productions of the play were staged by William Charles Macready (1842) and Charles Kean (1846). Twentieth century revivals include Robert B. Mantell's 1915 production (the last production to be staged on Broadway) and Peter Brook's 1945 staging, featuring Paul Scofield as the Bastard.
In the Victorian era, King John was one of Shakespeare's most frequently staged plays, in part because its spectacle and pageantry were congenial to Victorian audiences. King John, however, has decreased in popularity: it is now one of Shakespeare's least-known plays and stagings of it are very rare. It has been staged four times on Broadway, the last time in 1915. It has also been staged four times from 1953 to 2010 at the Stratford Shakespeare Festival.
Herbert Beerbohm Tree made a silent film version in 1899 entitled King John. It is a short film consisting of the King's death throes in Act V, Scene vii and is the earliest surviving film adaptation of a Shakespearean play. King John has been produced for television twice: in 1951 with Donald Wolfit and in 1984 with Leonard Rossiter as part of the BBC Television Shakespeare series of adaptations.
In 2011, a contemporary production was staged at the New York Shakespeare Exchange. In 2012, Bard on the Beach in Vancouver, British Columbia put on a production.
Read more about this topic: King John (play)
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“The audience is the most revered member of the theater. Without an audience there is no theater. Every technique learned by the actor, every curtain, every flat on the stage, every careful analysis by the director, every coordinated scene, is for the enjoyment of the audience. They are our guests, our evaluators, and the last spoke in the wheel which can then begin to roll. They make the performance meaningful.”
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