Cressida in twenty-first century performance

This article considers the performance history of Troilus and Cressida in late twentieth and early twenty-first century performance. Concentrating on the characterization of Cressida, the article begins by establishing the historical importance of Howard Davies' 1985 production, particularly in its revolutionary reinterpretation of Cressida. While acknowledging Davies' interpreting of the Greek camp scene, the article argues that the performance history of Cressida must also consider the relationship between the eponymous couple. From Davies' production, the article establishes that Davies' Greek camp scene has been used as a template by subsequent productions, forming the impression that Cressida is still performed in ways that present the reading as feminist. By considering twenty-first century performance choices, the article argues that directors no longer position Cressida as victim in their readings of the play.