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The Theatre of Shelley

Jacqueline Mulhallen


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1This study started life as a Ph.D. thesis for the English Department of Anglia Ruskin University. I would like to thank the staff of the English Department for their warm academic support and also for awarding me a major research bursary and further bursaries to attend conferences and to study in Italy. I owe a great debt to Professor Nora Crook, not only for her meticulous supervision of my thesis but also to both her and Dr. Keith Crook for all their encouragement, generosity and hospitality.

2I am most grateful to the staff of Anglia Ruskin University Library, the British Library, Cambridge University Library, Eton College Library, Horsham Museum. I am especially grateful to the London Library, which granted me membership under the Carlyle Scheme. I had a great deal of help from the staff of Archivio Storico del Teatro La Fenice, Biblioteca Nazionale Marciana, Biblioteca Casa Goldoni, Biblioteca Nazionale di Firenze, Gabinetto Vieusseux, Teatro della Pergola and Museo della Scala who encouraged and advised me and tolerated my inadequate Italian. The Committee of the British Association for Romantic Studies (BARS) granted me the Stephen Copley Award (2006) for travel to Italy. I would like to thank the following organisations and individuals for kindly allowing me to reproduce their material as illustrations: the Garrick Club, Senate House Library Special Collections, the Huntington Library, the Pennsylvania Academy of the Fine Arts, Ivor Guest and Dance Books and Anthony Speaight. David McGowan, BBC Written Archives Centre, helped me locate Shelley’s Hellas (1976), which the British Library Sound Archive allowed me to hear.

3Dr. Hilary Porriss, University of Cincinnati, Dr. Kai Merten, University of Giessen, Professor Jacky Bratton and Dr. Gilli Bush-Bailey, University of London and Professor Angela Esterhammer, University of Western Ontario, all gave me generous advice. I am particularly grateful to Professor Marcello de Angelis, Università di Firenze for his help in tracing a performance which Shelley might have seen. Many thanks to Colin Blumenau, Director of the Theatre Royal, Bury St Edmunds, for inviting me to become voluntary researcher for the ’Restoring the Repertoire’ project (2004-2006).

4All my friends and family have been very supportive, but I would not have completed the work without the optimism and enthusiasm of my husband, William Alderson. I benefited in a practical way from his knowledge of Greek and Greek drama, his passion for secondhand bookshops, his computer literacy and our discussions, but of course I owe him far more than this. Hope Stallybrass found me many out-of-print books on the theatre which proved invaluable, David Bookallil sent me, from Australia, a score of the overture to Thomas Dibdin’s The Cabinet and Stephanie Shaw read chapters with the eagle eye of a professional subeditor. I especially thank Jane and Felix Blunt for their wonderful hospitality while I was in Italy, Jane in particular. She not only took me to see places which Shelley knew, but without her help in contacting Italian libraries by phone before my visit, I could not have accomplished anything there in the two weeks available.

5Last but not least, my thanks to Rupert Gatti, William St. Clair, Alessandra Tosi and Corin Throsby of Open Book Publishers, who have all been sympathetic and very generous with their time. I am grateful for their encouragement, enthusiasm and advice.


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