This article discusses the construction, operation and scholarly usefulness of electronic resources of Shakespeare translations. In particular, it offers an overview of several existing European digital resources of Shakespeare translations by singling out trends, challenges and new vistas of research; describing the content, editing policies and functionalities of selected European projects, already in operation or currently assembled; and discussing the aims and major difficulties faced by the researchers, the choice of navigation and search tools, the possibilities of integrating national repositories with other resources and the relation of translation e-resources to adjacent disciplines, including corpus linguistics or stylometry.

First performed at Watford Palace Theatre in 2004, Tanika Gupta’s version of William Wycherley’s The Country Wife (1675) relocates the Restoration classic to twenty-first-century London, reframing its libertine plot as a witty satire on sexual and gender mores in contemporary Britain. In this new setting, Wycherley’s comic masterpiece is revisited from a multicultural perspective, and his merciless exposure of social hypocrisies becomes infused with the adaptor’s keen awareness of diversity and its complexities. This article draws attention to Gupta’s play as a culturally significant intervention in the reception history of Restoration theatre culture. By opening up Wycherley’s comedy to the representation of Britain’s “new ethnicities,” I suggest, Gupta’s work has paved the way for the more inclusive, multiculturally conscious approach to the Restoration canon that is observable in the new spate of revivals and adaptations produced during the last decade or so.