ABSTRACT
In an essay signaling key developments in modern Shakespeare production, Roger Warren asserts that “two achievements of the twentieth-century stage stand out above all others in their contribution to the interpretation of Shakespeare.” The first is discovery of the enhanced relevance of the history plays when they are performed as a cycle, and “the other main achievement of the modern stage has been to establish Love’s Labour’s Lost as one of Shakespeare’s major plays.” Of the latter milestone, he notes further that “this has been done on stage rather than in the study” (268–70).
