journey depicted in the poem is traced, using what are believed to be the actual locations. Theatre The Tyneside Theatre company presented a stage version of Sir Gawain and the Green Knight at the University Theatre, Newcastle at Christmas 1971. It was directed by Michael Bogdanov and adapted for the stage from the translation by Brian Stone. The music and lyrics were composed by Iwan Williams using medieval carols, such as the Boar's Head Carol, as inspiration and folk instruments such as the Northumbrian pipes, whistles and bhodran to create a "rough" feel. Stone had referred Bogdanov to Cuchulain and the Beheading Game, a sequence which is contained in the Grenoside Sword dance. Bogdanov found the pentangle theme to be contained in most sword dances, and so incorporated a long sword dance while Gawain lay tossing uneasily before getting up to go to the Green Chapel. The dancers made the knot of the pentangle around his drowsing head with their swords. The interlacing of the hunting and wooing scenes was achieved by frequent cutting of the action from hunt to bedchamber and back again, while the locale of both remained on-stage. In 1992 Simon Corble created an adaptation with medieval songs and music for The Midsommer Actors' Company. performed as walkabout productions in the summer 1992 at Thurstaston Common and Beeston Castle and in August 1995 at Brimham Rocks, North Yorkshire. Corble later wrote a substantially revised version which was produced indoors at the O'Reilly Theatre, Oxford in February 2014. Opera Sir Gawain and the Green Knight was first adapted as an opera in 1978 by the composer Richard Blackford on commission from the village of Blewbury, Oxfordshire. The libretto was written for the adaptation by the children's novelist John Emlyn Edwards. The "Opera in Six Scenes" was subsequently recorded by Decca between March and June 1979 and released on the Argo label in November 1979. Sir Gawain and the Green Knight was adapted into an opera called Gawain by Harrison Birtwistle, first performed in 1991. Birtwistle's opera was praised for maintaining the complexity of the poem while translating it into lyric, musical form. Another operatic adaptation is Lynne Plowman's Gwyneth and the Green Knight, first performed in 2002. This opera uses Sir Gawain as the backdrop but refocuses the story on Gawain's female squire, Gwyneth, who is trying to become a knight. Plowman's version was praised for its approachability,