This is probably the most misunderstood area of historical Shakespeare studies. Naive commentators long derided adaptations as travesties by ignorant theatrical types until late twentieth-century scholarship demonstrated that Restoration stage conditions, licensing, notions of originality, and acting conventions dictated most of the changes that the playwrights made while writing and revising for Killigrew at King's and Davenant at Duke's when these venues were created on the reopening of the public theatres.
Lacy, Sauny the Scot, Or, The Taming of the Shrew (acted 1667)
Davenant, Macbeth (acted 1663, first printed 1674)
Dryden and Davenant, The Tempest, or the Enchanted Island (1676)
Davenant, The Law Against Lovers [MM], 1673)
Davenant and Betterton, The Tragedy of Hamlet, Prince of Denmark (1676)
Dryden, All for Love (1677)
Shadwell, The Life of Timon of Athens (1678)
Dryden, Troilus and Cressida: Or, Love Found Too Late (1679)
Tate, The History of King Richard the Second (1681)
Tate, The History of King Lear (1681)
Ravenscroft, Titus Andronicus or the Rape of Lavinia (1687)
Cox, The Merry Conceited Humours of Bottom the Weaver (1673)
Betterton, King Henry IV: With the Humours of Sir John Falstaff (1700)
Gildon, Measure for Measure: Or, Beauty the Best Advocate (1700)
Granville, The Jew of Venice (1701)
