The End of Two… or is it..? We go Backstage.

Nick Hennegan at Theatre At The Tabard, Chiswick, London W4.

A quick look backstage at Maverick Theatre’s production of TWO, by Jim Cartwright. This was the last night at the Theatre at the Tabard in Chiswick, London W4. Weeks of standing ovations, sold-out houses and tearful audiences! (For all the right reasons!) Now we tour. Or at least, three nights in Birmingham!


Shakespeare’s First Folio turns 400: what would be lost without the collection? An expert speculates.

From The Conversation.

It has been 400 years since the publication of the first collected edition of Shakespeare’s plays, a volume now known as the First Folio. Prepared by his fellow actors after his death, the book presented 36 plays divided into the genres of comedy, history and tragedy.

Without it, 18 of Shakespeare’s plays that had not previously been printed would have been lost, among them Macbeth, Julius Caesar, Twelfth Night and The Tempest. No “friends, Romans and countrymen”, no “brave new world”, no “double, double toil and trouble”.

But what would really be different if this book had never been printed at all? Most significantly, there wouldn’t be the cultural icon we know as “Shakespeare”. Those works that do survive would be scattered across numerous flimsy early editions, rather than gathered in this imposing and serious volume. 

Without the weight – cultural as well as literal – of the collected edition, it’s possible few would care about these surviving plays. Something similar happened to other playwrights of the period, whose work was not given the authority of a collection.

We’d also have an idea of Shakespeare as more interested in histories and comedies than tragedies. Macbeth, Antony and Cleopatra, Coriolanus, Julius Caesar and Timon of Athens would be lost without the First Folio. 

The title page of the First Folio of Shakespeare's plays featuring a portrait of a balding Shakespeare.

Since some of these early editions did not name Shakespeare on their title pages, the authorship of plays such as Romeo and Juliet, Titus Andronicus and Henry V would be uncertain. Conversely, title pages identify Shakespeare as the author of The London Prodigal (1605) and A Yorkshire Tragedy (1608), which most modern scholars do not attribute to Shakespeare. In part this is due to the fact that they are not included in the First Folio. Without it, the canon of Shakespeare’s plays would have decisively shifted.

This different canon would have prompted a different historical response. The convenience and ready availability of the First Folio as a repository for Shakespeare’s plays was a significant practical factor in getting him back into the theatres when they reopened at the Restoration of Charles II in 1660. 

This large collection of Shakespeare’s works took up visible space on the shelf. Had he not come back into prominence at that important moment – and had the newly revived theatre looked elsewhere for their dramatic scripts – Shakespeare’s reputation might well have been permanently lost.

If Shakespeare had not been revived in the later 17th century, it is hard to see how he would have become the national poet during the 18th. No statue in Poets’ corner, no arguments between the literary figures of the day about the best way to edit his plays. 

David Garrick – the leading Shakespearean actor of the 18th century – would have had an entirely different career (as, in later periods, would other actors like Laurence Olivier and Judi Dench).

Shakespeare’s international reputation

This much-depleted Shakespeare would hardly have galvanised outrage about the sale of his Stratford birthplace in the 19th century. 

Perhaps modern Stratford-upon-Avon would now simply mark its playwright son with a blue plaque (rather as Shakespeare’s writing partner John Fletcher is remembered in his hometown of Rye). There would be no birthday parade, no Othello taxi firm, no tourist industry. No one would care if his wife, Anne Hathaway, had a cottage.

Without the First Folio there would be no dedicated Shakespeare theatre in Stratford, or at Shakespeare’s Globe on Bankside. There would be no Shakespeare festivals around the world, such as that in Stratford, Ontario. In fact, Stratford, Ontario, named in the 19th century for Shakespeare’s hometown, would now have a different name entirely, as would Stratfords in Ohio, Connecticut, Wisconsin, New Jersey and in New Zealand and Australia.

A thatched English cottage with white walls surrounded by greenery, photographed under blue skies.
Anne Hathaway’s famous thatched cottage just outside Stratford upon Avon. David Steele/Shutterstock

Halloween would be quite different without Macbeth, which popularised a trio of witches around a cauldron performing a spell. Valentine cliches of romantic love are unthinkable without the popularity of Romeo and Juliet. No sporting fixture between England and France would reach for the lines about Agincourt from Henry V.

A Shakespeare reduced in national prestige would not have been sufficiently prominent to be translated. Without German Shakespeare, we might never have had Freud’s version of the Oedipus complex, which he understood through his reading of Hamlet. 

Karl Marx would not have conceptualised his theory of capital via Timon of Athens. And translations around the world – into more than 100 languages – would not have established Shakespeare as a global author.

There are other, more serious consequences of this fancy. Colonial rule in India would not have relied on Shakespearean study as the central text of empire. Othello’s murder of Desdemona might not have left its long shadow of prejudice about interracial marriage. 

Perhaps the Confederate actor John Wilkes Booth would not have shot Abraham Lincoln at DC’s Ford’s Theatre, in April 1865 since he wouldn’t have been steeped in the role of the assassin Brutus in Julius Caesar.

The First Folio’s after-effects are far reaching indeed, touching fields of human psychology and geopolitics as well as literature, culture and theatre. No First Folio means no Shakespeare. And, whether you enjoy his works or not, that’s a hard reality to imagine.

Author: Emma Smith Professor of Shakespeare Studies, University of Oxford.

Celebrating William Shakespeare.

The Shakespeare’s Head Pub in Soho, London.. Nick used to have an office next door!
Photo by Vaan Photography on

Nick Hennegan looks at some facts – and otherwise – about William Shakespeare on his birthday weekend in April. Or was Shakespeare actually born in May? Find out why! Nick also shares his own experiences with The Bard of Avon and plays some classic poems, speeches and music.

An international Literary drink!

Literary Pub Crawlers last night in #fitzrovia and #Soho from Venezuela, Canada, NY, LA, Cork, Mexico, Puerto Rico….. and Sevenoaks! 🏴󠁧󠁢󠁥󠁮󠁧󠁿 #londonliterarypubcrawl

Tabard Theatre’s Tour de force Two.

🍷🍷🍷🍷 🍷 – 5 stars out of 5. Plus a packet of crisps!

Two by Jim Cartwright – till 29th April, 2023.

Nicholas Hennegan and The Maverick Theatre Company at the Theatre At The Tabard, 2 Bath Road, London, W4 1LW.

Jim Cartwright’s TWO is the story of one night in a Working Class Pub. Presumably somewhere ‘Oop North’. But the location doesn’t really matter. It could easily be in Chiswick, West London. Cartwright is a Northern Playwright, but the assorted characters we meet as they pass through the unnamed pub are universal. We meet an older woman, looking after a frail, bedridden husband, lusting after the local butcher and taking her reward for the day in a glass of Guinness. There’s an old man, now a widower, but philosophically and without bitterness still spending time with the presence of his dead wife and recalling her “soft cotton hair”. There’s Moth, boyfriend of Maudie and a not-so-young man who can’t help but attempt to seduce, epically unsuccessfully, every woman he comes across. A lost little boy who’s been left in the pub by his forgetful Father. A lustful woman who likes “big men” but who’s own husband is a loved, but “compact chap” and finally has enough. There’s Roy, shockingly posh abuser of his wife, Lesley. And the overweight, loveable and loved Elvis and Western movie fans Fred and Alice (Elvis Presley died from a choked bum, by the way!) And the Other Woman who has had enough of furtive affair meetings in hotels and car parks and has decided to confront her lover… and his wife… in the pub. And against all this are the bickering Landlord and Landlady who hold the pub together in spite of their obvious dislike for each other. Or is it an obvious dislike? We find out that this normal night is not, perhaps, so normal.

The impressive thing with this production is that all the characters coming and going through the busy pub are the same people! Or at least, the same two people. Claire Louise Amias and Greg Snowden give magnificent performances that are lithe and completely believable. Assured direction from Richard Woolnough ensures the action never lags. It’s also incredible that so much is squeezed into such a short time. We started at 7.30pm and even with Two Acts and an Interval, we were back in the ‘real’ pub downstairs before 9pm. But spoiler alert. Parts are hilarious. But parts are shocking. Take your tissues!

The Maverick Theatre Company are known for creating great nights out. And this is another one of those great nights. Go see Two. You may become a regular.

REVIEWER: Billie Andrews.

TICKETS: £18 full price/£15 concessions. Limited number of premium on stage seats available for £20.


Celebrating Charlotte Bronte.

Nick Hennegan celebrates the birth on 21st April 1816 of Charlotte Bronte. We all know she was the author of Jane Eyre, but she also wrote poetry. Nick looks at her life and poetry. 

Literary (and Irish) requests!

Photo by Ena Marinkovic on


This week on ‘Literary London’, Nick Hennegan (who, as you will hear, has had his new phone stolen!) plays your requests, with music and poetry from The Pogues, WB Yeats and The Dubliners. — Send in a voice message: