That a festival of Shakespeare’s entire canon might be undertaken seems a venture too daring to contemplate; that it is half way towards completion seems a miracle that only the Royal Shakespeare Company could accomplish. Having launched the festival with “Romeo and Juliet” on Shakespeare’s birthday, April 23, 2006, the project will conclude with “King Lear,” opening in March 2007. In between, thirty-six additional plays will have been presented.

Some of the works are being produced by the Royal Shakespeare Company, among them, in addition to the two named above, are three outstanding offerings that are moving to London’s Novello Theatre, in the 2006-07 season: “Much Ado About Nothing” (December 7 – January 6, 2007), “Antony and Cleopatra” January 11 – February 17), and “The Tempest” (February 22 - March 24.) Maxine Elliott directs the delightful “Much Ado,” with Tamsin Greig and Joseph Millson as Beatrice and Benedick fencing verbally and dancing tangos and salsas in pre-Castro Cuba, where a militaristic society lends credence to Hero’s denouncement and Beatrice’s call for revenge. “Antony and Cleopatra” pairs Patrick Stewart and Harriet Walter as the stormy, erotic lovers, directed by Gregory Doran, and “The Tempest” sees Patrick Stewart at the acme of his long acting career as magician Prospero, bent on revenge against his wrongdoers. Rupert Goold directs. For fuller descriptions: Bard on the Boards. Box office: 0870 950 0941 or online www.delfontmackintosh.co.uk

In addition to the plays staged by the RSC, companies from around the world are bringing their productions of Shakespeare’s plays to Stratford-upon-Avon. Impressive performances have been seen of “Titus Andronicus” by the Ninagawa Company of Japan, directed by Yukio Ninagawa, “Hamlet,” by the Baxter Theatre Centre of Cape Town, South Africa, directed by Janet Suzman, and Tim Supple’s production of “A Midsummer Night’s Dream,” performed by actors and musicians from throughout India, presented by Dash Arts in association with the British Council.

From the United States came a highly acclaimed “Henry IV, parts 1 and 2,” presented by the Chicago Shakespeare Theater, directed by Barbara Gaines, and a rollicking, much-praised “Love’s Labour’s Lost,” directed by Michael Kahn and performed by the Shakespeare Theatre Company from Washington, D.C.

In August, the Nos do Morro company of young people from Rio de Janeiro, working with Gallery 37, a project of Birmingham City Council, presented “The Two Gentlemen of Verona,” and in September, German director Peter Stein’s Edinburgh Festival production of “Troilus and Cressida” arrived. Two of the British companies presenting Shakespeare’s plays at the Festival were the Peter Hall Company from Bath, with a Puritan-costumed “Measure for Measure,” directed by Mr. Hall, and “Henry VIII,” offered by Gregory Thompson’s company AandBC, in an impressive presentation at the Holy Trinity Church in Stratford, where Shakespeare is buried. The center aisle provided the setting for the pageantry of Anne Boleyn’s coronation, and the actual font was used for the final scene in which Elizabeth is christened (played by a real, well-behaved baby.)

Royal Shakespeare Company productions running at Stratford-upon-Avon into October include “Romeo and Juliet,” “Julius Caesar,” and “King John.” In July, to inaugurate the new Courtyard Theatre, a revival of the three parts of “King Henry VI” opened as the first in a two-year RSC project to stage Shakespeare’s entire history cycle. Directed by Michael Boyd in 2001, this award-winning trio depicted at first the wars in France to regain land won by the late Henry V, then the outbreak of civil war between the Yorks and the Lancasters, and finally the rise of the House of York with Edward IV proclaimed king, although his brother Gloucester is already plotting to gain the crown. In January, “Richard III” joins the repertoire, with Jonathan Slinger in the title role.

Mr. Boyd’s vertical direction makes thrilling work of English history, with battling warriors climbing ladders to the ceiling or descending on ropes, as the dead are hoisted upward in harnesses. Bloodshed abounds, like the death of Richard Duke of York, stabbed by Margaret of Anjou ( Katy Stephens), who seizes the leadership from her inept husband Henry VI (Chuk Iwuji). Assuming vibrant life under Mr. Boyd’s guidance, are Joan of Arc (also Ms. Stephens) as inspirer (the French) and witch (the English), the stirrings of rebellion by Jack Cade (John McKay), the supernatural doings of Eleanor of Gloucester (Maureen Beattie), and the sizzling affair between Margaret and Suffolk (Geoffrey Streatfeild).

Plays by guest companies scheduled to appear through the end of the year include “Cymbeline,” directed by Emma Rice, performed September 20 to 30 by Kneehigh Theatre, which later moves to the Lyric Hammersmith in London January 17 – February 3. In October “Timon of Athens” is presented by Cardboard Citizens and in November “The Taming of the Shrew” by Propeller, an all-male ensemble from the Watermill Theatre. “Richard II” is offered by the famed Berliner Ensemble November 16 to 18 at the Courtyard Theatre, directed by Claus Peymann.

Dominic Cooke directs two works for the RSC in the winter season, “The Winter’s Tale,” joining the repertoire October 26 and playing into January, and “Pericles,” from November 2 to January 6, both at the Swan Theatre. “Merry Wives the Musical” opens December 2, in repertory until February 10, 2007, with Desmond Barrit as Falstaff and Judi Dench as Mistress Quickly. This musical version of “The Merry Wives of Windsor” is adapted and directed by Gregory Doran, with an original score by Paul Englishby. In the new year, from February 22 to March 31, “Coriolanus” appears at the Royal Shakespeare Theatre, directed by Gregory Doran, with William Houston in the title role and Janet Suzman as his mother, Volumnia.

Pippo Delbono, with his international company of actors, “makes theatre which calls the world and society into question.” From 1 to 3 February they give four performances of “Henry V,” as a collage of parts of Shakespeare’s text, popular cabaret, comedy, music, dance, and movement. To play the non-speaking parts, Mr. Delbono on Sunday November 5 auditions at Stratford young local actors to rehearse with the company for ten days and to play the non-speaking chorus, who create “images of a society whipped into hysteria for war.” “Macbeth” is offered as a “work-in-progress” by the Teatr Piesn Kozla (Song of the Goat Theatre) from 21 to 24 February. “They continue the long tradition of Polish ensemble theatre work” with “research into the actor’s craft and its vocal and movement techniques.” From Russia comes the Chekhov International Theatre Festival in association with Cheek By Jowl, presenting “Twelfth Night,” as Declan Donnellan and Nick Ormerod bring their Moscow ensemble to Stratford from February 28 to March 3.

The month of March brings the Complete Works Festival to a close with three outstanding productions. From New York’s Theatre for a New Audience, artistic director Jeffrey Horowitz offers “The Merchant of Venice” with Academy-Award winner F. Murray Abraham as Shylock. From Sheffield, artistic director Samuel West (RSC’s Hamlet and Richard II in 2001) brings “As You Like It,” and the final RSC production, “King Lear,” opens, with Ian McKellen in the title role, directed by Trevor Nunn. (Tickets and performance schedule: www.rsccompleteworks.co.uk )