Abstract
Abstract The opening chapter examines the place of Shakespeare in private theatricals commissioned by the royal family, with a focus on Queen Victoria’s sponsorship of performances at Windsor Castle in the 1850s. The chapter argues that Shakespearean drama functioned for Victoria both as an opportunity to perform patriotic appreciation for English drama and as a means of drawing connections between past and present. In detailed readings of the archival record for performances of Hamlet and Richard II, I suggest that these performances were overdetermined or, to use Marvin Carlson’s terminology, ‘haunted’, by the personal histories of the participants and spectators and, particularly, by the spaces in which they were performed.
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