ABSTRACT
William Poel was one of the leading exponents of the early twentieth-century’s so-called Elizabethan Revival, exploring original practices and authentic presentational methods. This chapter discusses his productions of The Coxcomb in 1898 and Bonduca in 1929, showing how, in textual terms, ‘authenticity’ was compromised by the prudish moral climate of the period, resulting in extensive expurgation. The chapter also examines the plays’ pervasive misogynistic discourse, arguing that while The Coxcomb seems to challenge the ingrained patriarchy of its dramatic world, Bonduca’s rhetorical strategies and patriotic sentiments apparently promote the virulently misogynistic Caratach as its heroic protagonist.
