2015. In Homann and Maufort (eds), New Territories: Theatre, Drama, and Performance in Post-apartheid South Africa (Peter Lang), pp.75-103.
When undertaking an account of South African Shakespeare-in-performance since the legislative end of apartheid, one is faced with a number of structural choices. What is the best way to "categorise" Shakespeare productions? By date - a chronological narrative? By play, director, actor, company, theatre, city? By popularity and commercial success - audience response and critical reception? What I offer here is a combination of these, and by no means an attempt to be comprehensive. It is also worth emphasising the problem of defining the "Shakespearean", never mind the "South African". Taking as its starting point the Market Theatre's Titus Andronicus in 1995, this essay considers to what extent South African Shakespeare productions over the last two decades have been patterned "after" this Titus.