In 1681, Nahum Tate took "unpolisht jewel" Shakespeare's King Lear, and modified it for Restoration tastes. The romantic result replaced its original for 157 years.
Now rarely-seen, Tate’s oddity dominated the English stage, eclipsing Shakespeare’s version until the 1800s. With music, romance, added scenes, cut characters, sweeping fights, and a gloriously surprising ending, Tate’s Lear is a wild romp that still maintains the heart and theme of Shakespeare’s original.
World-renowned scholar, author, and Oxford Don of Early Modern Drama, Professor Tiffany Stern returns to her work with Austin’s Hidden Room Theatre as the Head of Research for Tate’s Lear, guiding the project’s exploration and understanding of Restoration Theatre practices including the integration of women, textual alterations to classic plays, and a grander style of presentation.
Some of Austin’s most celebrated actors, designers, and musicians are coming together to make this project come alive.
In 1681, Nahum Tate took "unpolisht jewel" Shakespeare's King Lear, and modified it for Restoration tastes. The romantic result replaced its original for 157 years.
Now rarely-seen, Tate’s oddity dominated the English stage, eclipsing Shakespeare’s version until the 1800s. With music, romance, added scenes, cut characters, sweeping fights, and a gloriously surprising ending, Tate’s Lear is a wild romp that still maintains the heart and theme of Shakespeare’s original.
World-renowned scholar, author, and Oxford Don of Early Modern Drama, Professor Tiffany Stern returns to her work with Austin’s Hidden Room Theatre as the Head of Research for Tate’s Lear, guiding the project’s exploration and understanding of Restoration Theatre practices including the integration of women, textual alterations to classic plays, and a grander style of presentation.
Some of Austin’s most celebrated actors, designers, and musicians are coming together to make this project come alive.
In 1681, Nahum Tate took "unpolisht jewel" Shakespeare's King Lear, and modified it for Restoration tastes. The romantic result replaced its original for 157 years.
Now rarely-seen, Tate’s oddity dominated the English stage, eclipsing Shakespeare’s version until the 1800s. With music, romance, added scenes, cut characters, sweeping fights, and a gloriously surprising ending, Tate’s Lear is a wild romp that still maintains the heart and theme of Shakespeare’s original.
World-renowned scholar, author, and Oxford Don of Early Modern Drama, Professor Tiffany Stern returns to her work with Austin’s Hidden Room Theatre as the Head of Research for Tate’s Lear, guiding the project’s exploration and understanding of Restoration Theatre practices including the integration of women, textual alterations to classic plays, and a grander style of presentation.
Some of Austin’s most celebrated actors, designers, and musicians are coming together to make this project come alive.
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