"King Lear" was politically controversial during the period of George III's madness, and as a result was not performed at all in the two professional theatres of London from 1811 to 1820: but was then the subject of major productions in both, within three months of his death. The 19th century saw the gradual reintroduction of Shakespeare's text to displace Tate's version. Like Garrick before him, John Philip Kemble had introduced more of Shakespeare's text, while still preserving the three main elements of Tate's version: the love story, the omission of the Fool, and the happy ending. Edmund Kean played "King Lear" with its tragic ending in 1823, but failed and reverted to Tate's crowd-pleaser after only three performances. At last in 1838, William Macready at Covent Garden performed Shakespeare's version, freed from Tate's adaptions. The restored character of the Fool was played by an actress, Priscilla Horton, as, in the words of one spectator, "a fragile, hectic, beautiful-faced, half-idiot-looking boy." And Helen Faucit's final appearance as Cordelia, dead in her father's arms, became one of the most iconic of Victorian images. John Forster, writing in the "Examiner" on 14 February 1838, expressed the hope that "Mr Macready's success has banished that disgrace version from the stage for ever." But even this version was not close to Shakespeare's: the 19th-century actor-managers heavily cut Shakespeare's scripts: ending scenes on big "curtain effects" and reducing or eliminating supporting roles to give greater prominence to the star. One of Macready's innovations—the use of Stonehenge-like structures on stage to indicate an ancient setting—proved enduring on stage into the 20th century, and can be seen in the 1983 television version starring Laurence Olivier.