This volume examines the pioneering work of Phyllida Lloyd, whose all-female productions have revolutionised how Shakespeare's plays are performed in 21st-century Britain.Following Lloyd from her first Shakespeare in Cheltenham in 1986, this book explores her radical casting practices and the importance of her collaborative rehearsal approach. While her 2003 all-female Taming of the Shrew at Shakespeare's Globe was met with both enthusiasm and resistance, it was her production of Julius Caesar in 2012 at the Donmar Warehouse which sent shock waves through the theatre industry. Alongside Henry IV in 2014 and a new production of The Tempest, Lloyd produced these plays together to create the Donmar Trilogy of 2016 to wide acclaim, a cultural landmark moment in which non-traditional casting had become mainstream.The book explores Lloyd's ongoing relationships with major stars Harriet Walter, Janet McTeer, Meryl Streep and includes new interviews with both Lloyd and actors she has worked with across the last 40 years. It argues that Lloyd's megamusical Mamma Mia! had a crucial impact on her directing practice, helping to pave the way for the Donmar Shakespeares. Ultimately Schafer and Bullen show that Lloyd's career-long commitment to creating disturbance and diversity through her work has opened up what she calls the 'crown jewels' of British theatre Shakespeare to new audiences.

This volume examines the pioneering work of Phyllida Lloyd, whose all-female productions have revolutionised how Shakespeare's plays are performed in 21st-century Britain.Following Lloyd from her first Shakespeare in Cheltenham in 1986, this book explores her radical casting practices and the importance of her collaborative rehearsal approach. While her 2003 all-female Taming of the Shrew at Shakespeare's Globe was met with both enthusiasm and resistance, it was her production of Julius Caesar in 2012 at the Donmar Warehouse which sent shock waves through the theatre industry. Alongside Henry IV in 2014 and a new production of The Tempest, Lloyd produced these plays together to create the Donmar Trilogy of 2016 to wide acclaim, a cultural landmark moment in which non-traditional casting had become mainstream.The book explores Lloyd's ongoing relationships with major stars Harriet Walter, Janet McTeer, Meryl Streep and includes new interviews with both Lloyd and actors she has worked with across the last 40 years. It argues that Lloyd's megamusical Mamma Mia! had a crucial impact on her directing practice, helping to pave the way for the Donmar Shakespeares. Ultimately Schafer and Bullen show that Lloyd's career-long commitment to creating disturbance and diversity through her work has opened up what she calls the 'crown jewels' of British theatre Shakespeare to new audiences.

This volume examines the pioneering work of Phyllida Lloyd, whose all-female productions have revolutionised how Shakespeare's plays are performed in 21st-century Britain.Following Lloyd from her first Shakespeare in Cheltenham in 1986, this book explores her radical casting practices and the importance of her collaborative rehearsal approach. While her 2003 all-female Taming of the Shrew at Shakespeare's Globe was met with both enthusiasm and resistance, it was her production of Julius Caesar in 2012 at the Donmar Warehouse which sent shock waves through the theatre industry. Alongside Henry IV in 2014 and a new production of The Tempest, Lloyd produced these plays together to create the Donmar Trilogy of 2016 to wide acclaim, a cultural landmark moment in which non-traditional casting had become mainstream.The book explores Lloyd's ongoing relationships with major stars Harriet Walter, Janet McTeer, Meryl Streep and includes new interviews with both Lloyd and actors she has worked with across the last 40 years. It argues that Lloyd's megamusical Mamma Mia! had a crucial impact on her directing practice, helping to pave the way for the Donmar Shakespeares. Ultimately Schafer and Bullen show that Lloyd's career-long commitment to creating disturbance and diversity through her work has opened up what she calls the 'crown jewels' of British theatre Shakespeare to new audiences.