Theatre at Stratford-upon-Avon: A Catalogue-Index to Productions of the Shakespeare Memorial/Royal Shakespeare Theatre, 1879–1978. Volume 1: Catalogue of Productions; Volume 2: Indexes and Calendar by Michael Mullin and Karen Morris Muriello (review)

190 Comparative Drama stops, thin groupings, car activities, final effort to “snag”; 6 a.m.—sunup, stragglers, efforts to start stalled cars, diehards gradually depart the scene. (pp. 87-88) This midnight to 6 a.m. ritual provides an emotional outlet for together­ ness as well as for release of pent up tensions derived from the ambiguity found in being an urban Indian. The author deftly ties the past to the present and even loops the present into a tighter knot through the use of non-Indian participants in the form of police officers in patrol cars. The officers provide the stereo­ typical, ethnocentric comments frequently directed against Indian groups. The author is able to provide a greater understanding and need for urban Indians to comprehend the meaning of their own existence. This work, 49, emphasizes another one of the great dilemmas faced by those wishing to implement better understanding of Native American cultures. Hanay Geiogamah is attempting to put forth a message for all Ameri­ can Indians. He has produced noteworthy works which should be ex­ perienced by non-Indian as well as Indian audiences. The common web of humanity requires all to possess the necessary insights into the psyche of our fellow human beings. Geiogamah presents us with the emotional horror forced on the contemporary Indian in his or her attempt to find identity in this engulfing world. NORMAN C. GREENBERG Western Michigan University Michael Muffin and Karen Morris Muriello. Theatre at Stratford-uponAvon : A Catalogue-Index to Productions of the Shakespeare Me­ morial/Royal Shakespeare Theatre, 1879-1978. Volume 1: Catalogue of Productions; Volume 2: Indexes and Calendar. Westport, Con­ necticut: Greenwood Press, 1980. Pp. xxxvi + 1039. $60.00. Here now is a useful reference for Shakespeare enthusiasts. The two volumes list all the productions at Stratford-upon-Avon during the last one hundred years—indeed, they appear almost as a centennial offering. The catalogue is alphabetical by play, with each production identified by date, director, designer, actors, and reviewers; the indexes list the playwrights (for not every production was of a play by Shakespeare), the theatre artists, the reviewers, and a calendar of productions from 1872. For Shakespeare students and scholars, as well as theatre people who wish to find out about previous productions, the books will be a boon, especially if they can get to the Shakespeare Centre at Stratford where most of the promptbooks and reviews are held. Before this we had only Charles Shattuck’s The Shakespeare Promptbooks (1965) and J. C. Trewin’s Shakespeare on the English Stage, 1900-1964 (1964) as our references to the Shakespeare Company’s work; now we have it all, short of the promptbooks themselves. Professor Muffin tells the story of his attempt to compare one pro­ duction of Macbeth with another for his recent book. On his initiative Reviews 191 the University of Illinois was led to microfilm the archives at the Shake­ speare Centre, a process which resulted in the production of 93 reels of 700 frames each. It was evident that, to be of any use, some 70,000 frames needed an index or two. So it was that the computer was invoked, and nearly three years later Mullin and his team completed the program­ ming which has resulted in the present publication. In a helpful introduction, he argues that the extraordinary phenomenon of the proliferation of Shakespeare productions throughout the world, and the unprecedented growth of interest in the plays by both the artists and the academics, could lead to “a new provincialism,” a diminished view of the former theatrical tradition, the isolation of audiences, and an even greater ignorance of the work of the artist by the academic, and of the work of the academic by the artist. Mullin believes it important that a producer today should know what has been achieved in the past, and that scholars too should take into account the growth of a play outside the study. His books have their contribution to make in con­ trolling a situation already out of hand. The introduction also outlines the story of the Shakespeare Company. In its own way, the continuity of work at Stratford, together with that of the...