It is unlikely that details of Shakespeare’s materials had “long since been forgotten” by his audiences (Shakespeare was right: the play’s the thing, 10 January). A great many of his plots sprang from a common well of folk and fireside tales with which his audiences would have been generally familiar. As for the more “factual” subjects, the material for his English history plays came largely from the pages of Holinshed’s Chronicles, published and widely read during his younger years. That the material was still sharp in the memory of his more mindful contemporaries is evidenced by the size of the fees paid for controversial performances of Richard II on the eve of the ill-fated Essex Rebellion in 1601. If, as rumoured, it included the “deposition scene” it would have lent a certain frisson of memory to the occasion.
Austen Lynch
Garstang, Lancashire
• In her review of Manhunt (7 January), Lucy Mangan says that this sober, responsible production has avoided hyping “Martin Clunes’s first foray into straight drama”. In fact, Martin Clunes is a fine Shakespearean actor. The English Shakespeare Company led by Michaels Bogdanov and Pennington came to Hull New Theatre in 1987 with wonderful productions of Henry IV Parts 1 and 2 and Henry V, and again in 1988 with The Wars of the Roses. Clunes played five roles, including the Duke of Clarence and Lord Mowbray in “the Henrys”. On the Saturday, the public were offered the remarkable theatregoing event of all three productions in one day. In a strong ensemble cast, I especially remember John Woodvine as Falstaff and the Chorus, and June Watson as Mistress Quickly.
Peter Ayling
Kirk Ella, East Yorkshire
• With reference to Hamlet in connection with the Brexit debate, may I suggest John of Gaunt’s speech in Richard II, starting “This Royal throne of Kings” and ending “(England) hath made a shameful conquest of itself.” This is a prophecy, if ever I heard one.
Christine Ozanne
London
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