Abstract
Barely eighteen months before his production of The Shoemaker's Holiday, Orson Welles could not claim for himself a single credential in the professional theatre. Beginning with his very first production, the celebrated “Voodoo” Macbeth, in 1936, Welles quickly became the center of mounting popular and critical attention with Horse Eats Hat, Dr. Faustus and The Cradle Will Rock for the W.P.A. He followed these in the Winter of 1937–38 with the first two productions for his own, newlyformed Mercury Theatre: Julius Caesar and The Shoemaker's Holiday.
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