Abstract
This article explores the role of new writing within two contemporary Shakespearean institutions, the Royal Shakespeare Company (RSC) and Shakespeare’s Globe. Focusing on the 2010 premieres and subsequent touring productions of David Greig’s Dunsinane for the RSC and Howard Brenton’s Anne Boleyn at the Globe, this article reflects on how these plays derive distinctive meanings from their repertory connection to Shakespeare. At the same time, I argue that by reconceiving accepted historical narratives and figures, these plays also challenge causal links between past and present, including the supposed lineage between Shakespeare and contemporary writers that both institutions espouse.
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