In performance, Shakespeare can safely be left to look after himself. His plays deal in primal emotions and obviously have a broad appeal. Tickets for Kenneth Branagh’s recent Macbeth at the Manchester International Festival sold out in less than 10 minutes. All male productions, all-female productions, productions in dozens of languages from every corner of the Earth all manage to pull in the crowds, and it seems to be possible to stage some of the plays in just about any setting. So we get King Lear in a children’s playground, Henry V in Iraq or Measure for Measure in Freud’s Vienna, while Romeo and Juliet cries out to be relocated to a sectarian city such as Belfast or Beirut.