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The article explores the theatrical fate of Shakespeare’s Great Tragedies on Hungarian stages by comparing two periods: the final 32 years of the socialist regime (1958–1989) and the first 32 years of the period that followed (1990–2021). The approach is innovative in that it investigates what production metadata of the plays in question disclose. First, I briefly review the analysis’s methodological concerns. I then examine the differences in terms of the number of productions, the ages of the actors, the gender, and the translations. I intend to demonstrate the value of metadata analysis for theatre historians in identifying cultural trends. [ABSTRACT FROM AUTHOR]