query: Where was Nahum Tate's adaptation of King Lear first performed?
passage: The History of King Lear
Nahum Tate's The History of King Lear was successfully remounted in New York, at The Shakespeare Center on Mahattan's Upper West Side, staged by the Riverside Shakespeare Company in 1985.[30] For this production, conventions of the mid-17th century English theatre, when Tate's Lear was popular, were used in the staging, such as raked stage covered with green felt (as was the custom for tragedies),[31] footlights used for illumination on an apron stage (or curved proscenium stage), and period costumes drawn from the era of David Garrick. Musical interludes were sung by cast members during the act breaks, accompanied by a harpsichord in the orchestra pit before the stage. The production was directed by the company's Artistic Director, W. Stuart McDowell, and featured Eric Hoffmann in the role of Lear, and supported by an Equity company of fifteen, including Frank Muller in the role of the Bastard Edmund.[32] The play, with its "happy ending", became known as a "King Lear for optimists" by the press, and proved one of the most popular productions by the Riverside Shakespeare Company.[31]
passage: Shakespeare in performance
On the whole, though, innovation was the order of the day for Restoration companies. John Downes reports that the King's Men initially included some Caroline actors; however, the forced break of the Interregnum divided both companies from the past. Restoration actors performed on proscenium stages, often in the evening, between six and nine. Set-design and props became more elaborate and variable. Perhaps most noticeably, boy players were replaced by actresses. The audiences of comparatively expensive indoor theaters were richer, better educated, and more homogeneous than the diverse, often unruly crowds at the Globe. Davenant's company began at the Salisbury Court Theatre, then moved to the theater at Lincoln's Inn Fields, and finally settled in the Dorset Garden Theatre. Killigrew began at Gibbon's Tennis Court before settling into Christopher Wren's new theatre in Drury Lane. Patrons of both companies expected fare quite different from what had pleased Elizabethans. For tragedy, their tastes ran to heroic drama; for comedy, to the comedy of manners. Though they liked Shakespeare, they seem to have wished his plays to conform to these preferences.
Restoration writers obliged them by adapting Shakespeare's plays freely. Writers such as William Davenant and Nahum Tate rewrote some of Shakespeare's plays to suit the tastes of the day, which favoured the courtly comedy of Beaumont and Fletcher and the neo-classical rules of drama. In 1681, Tate provided "The History of King Lear", a modified version of Shakespeare's original tragedy with a happy ending. According to Stanley Wells, Tate's version "supplanted Shakespeare's play in every performance given from 1681 to 1838," when William Charles Macready played Lear from a shortened and rearranged version of Shakespeare's text. "Twas my good fortune", Tate said, "to light on one expedient to rectify what was wanting in the regularity and probability of the tale, which was to run through the whole a love betwixt Edgar and Cordelia that never changed words with each other in the original".