1. Bonelli, p. 44. See also Carol Thomas Neely, Distracted Subjects: Madness and Gender in Shakespeare and Early Modern Culture, 2004, especially pp. 83–91; Lesel Dawson, Lovesickness and Gender in Early Modern English Literature, 2008, especially pp. 79–90; and Paromita Chakravarti, ‘“I have no other but a woman’s reason”: Folly, Feminity and Sexuality in Renaissance Discourses and Shakespeare’s Plays’, The Shakespearean International Yearbook 8 (2008), 136–61, especially pp. 150–4. Chakravarti argues that the daughter’s ‘cross-class desire is closer to folly than melancholy’ (p. 151).
2. Peter Smith, Cahiers Élisabéthains (special issue 2007), 37–8, describes the event.
3. Shewring, pp. 113–14. Warren, p. 83, places the mime during the song. Shewring (pp. 127–9) traces the rose and its symbolism. In a playful variation of the mime, masked actors opened Gregory Doran’s MND (RSC, 2005) with a sword fight, the winner – Hippolyta – revealed when they unmasked.
4. Michael Ratcliffe, Observer, 11 May 1986 (TR 6:539). Most of the newspaper reviews cited for this production are collected in TR 6 (1986), 538–43 and, for the transfer to London, TR 7 (1987), 657–61. The TR reference appears in parentheses.
5. Kathy Taylor, ‘The Two Noble Kinsmen’, Cahiers Élisabéthains 59 (2001), 87-90 (p. 89).