Shakespeare

Papers
(The median citation count of Shakespeare is 0. The table below lists those papers that are above that threshold based on CrossRef citation counts [max. 250 papers]. The publications cover those that have been published in the past four years, i.e., from 2020-03-01 to 2024-03-01.)
ArticleCitations
Leave to Speak: White Scholars, “Allyship”, and Shakespeare Studies2
“And Who Will Write Me?”: Maternalizing Networks of Remembrance in Maggie O’Farrell’sHamnet2
Western Theatrical Influence and Early Shakespeare Performance in the Ottoman Empire (1810–1908)2
Shakespeare and the Present: History and Mediality in Richard III2
The Merchant of Veniceand the Demise of Hospitality1
Something’s Rotten in Kashmir: Postcolonial Ambivalence and the War on Terror in Vishal Bhardwaj’s Haider1
Review of Stephen Richter and Mónica Andrade’s Marqués: A Narco Macbeth. University of California, Santa Cruz, 26 February 2016–6 March 2016. Available on YouTube.1
Digitally Mediated Shakespeare in South Korea1
Learning from the Apocrypha: A Peculiarity of Shakespeare’s Comic Endings1
Illuminating the Motives of Racism When Adapting and Directing The Merchant of Venice1
Shakespeare and Gardens: Special Issue Introduction1
Review of Shakespeare’s A Midsummer Night’s Dream (Directed by Emma Rice) at Shakespeare’s Globe, London, 5 May – 11 September 2016, Shown as Part of “Culture in Quarantine” on BBC iPlayer, 23 1
Disease, Folly, Authorship: Robert Armin andTwelfth Night1
Hair in the BBC’s The Hollow Crown: The Wars of the Roses: Class, Nation, Gender, Race, and Difference1
Shakespeare’s Sonnets as Reproductive Labour1
An Early History of the Shakespeare Sermon (1769–1830): From Garrick’s Jubilee to the Reverend Arthur Savage Wade’s Stratford Festival Shakespeare Sermons1
Shakespeare’s Art of Entanglement: The Tempest’s Tragicomic Dramaturgy of Knotting and Untying1
Staging Coriolanus: An Interview with Robert Hastie, Artistic Director of Sheffield Theatres1
Introduction: Shakespeare and the Greater Middle East1
Review of Shakespeare’s Richard II (Directed by Saheem Ali for Free Shakespeare on the Radio with the Public Theater) on WNYC, 13–16 July 20201
Biographical Reconfigurations of Shakespeare’sSonnets: John Benson, Charles Gildon, and the Catullan Epigram1
Review of Pippa Hill’sDream(Directed by Robin McNicholas for the Royal Shakespeare Company) at Portsmouth Guildhall. Performed and Streamed Online, 12–20 March 20211
Review of Bae Sam-sik’s Changgeuk Lear (Directed by Jung Young-doo for the National Changgeuk Company of Korea) National Theater of Korea, Seoul, 13 and 30 March 20221
Of an Age, Not Just for All Time: Shakespeare’s Screen Traffic in a City and Time “Out of Joint”1
The Balfour Declaration as a Pound of Flesh1
Unsphered, Disorbed, Decentred: Shakespeare’s Astronomical Imagination1
The Tempest as “Gift of Death”0
Mothers, Motherhood and the Feminine in Fiennes’sCoriolanus0
Introduction: Shakespeare and the Jews0
Rhetorical Identification in Shakespeare’s Roman Republics0
Shakespeare’s Phenomenology of Time inMacbeth0
Paroles, Honour’s Fool: Fe/Male Folly in Shakespeare’s All’s Well That Ends Well and Early Modern England0
Review of Shakespeare’sRichard II(Directed by Adjoa Andoh and Lynette Linton) at Shakespeare’s Globe, Sam Wanamaker Playhouse, London, 2019, Broadcast by Swinging the Lens on YouTube April 20210
Shakespeare and Virtue: A Handbook Shakespeare and Virtue: A Handbook , edited by Julia Reinhard Lupton and Donovan Sherman, Cambridge, Cambridge University Press, 2023,0
Shakespearean Arrivals: The Birth of Character Shakespearean Arrivals: The Birth of Character , by Nicholas Luke, Cambridge, Cambridge University Press, 2018, vi + 253 p0
Bound by Non-action: The Art of Not Doing in The Banquet and Prince of the Himalayas0
Metrical Variation and Metrical Emendation in Q1 Hamlet0
Review of Shakespeare’s As You Like It (Directed by Laurie Sansom for the Northern Broadsides Theatre Company) at the New Vic Theatre, Staffordshire, 10 February 20220
Santiago: Making Bilingual Shakespeare Count0
Which Is the ‘Jew / That Shakespeare Drew’? Shylock’s Afterlife in Mere Reading and Maverick Stagings0
Introduction: To the Reader; or, What’s in a Folio?0
Gender Reversals in Contemporary Shakespeare Adaptations: The Case of the National Theatre at Home During the Pandemic0
Correction0
Shakespeare and the New Palace of Westminster (1834–1927)0
Knowing through Nursing: Edgar and the Exercise of Care in King Lear0
Malvolio Within to Malvolia Out: Escaping Heteronormativity in Twelfth Night0
Playbooks and their Readers in Early Modern England0
The Dramaturgy of Ophelia’s Bouquet0
Falstaff’s ‘Play Extempore’: Illegal Inn Performances and Local Politics in 1 Henry IV0
Shakespeare’s Mac Beth (Adapted and Directed by Erica Schmidt for the Hunter Theater Project), Frederick Loewe Theater, New York, 8 February 20200
Shakespeare and Lost Plays: Reimagining Drama in Early Modern England0
Review of Shakespeare’s The Tempest (Directed for the Screen by Ian Russell; Directed for the Stage by Jeremy Herrin), at Shakespeare’s Globe, London, May 2013. Shown as Part of “Culture in Qua0
‘Between the Red Rose and the White’: Staging Vegetal Materiality in the First Tetralogy0
Disabled for England: Crip/Queer Veterans inHenry V0
Re-localising Shakespeare in Pakistan: A Post-Dramatic Appropriation of Shakespeare’s The Taming of the Shrew as Illaj-e-Zid-Dastiyab-Hey0
Indict the Author of Affection: Affectation and Catachresis in Hamlet0
Review of Thomas Middleton’s Michaelmas Term (Directed by Perry Mills for Edward’s Boys) at the Inner Temple, London, 17 March 20230
Staging Female Characters in Shakespeare’s English History Plays Staging Female Characters in Shakespeare’s English History Plays , by Hailey Bachrach, Cambridge, Cambri0
Love Notes and Sonnets in Early Modern Tragedy0
Othello, Cyprus and the Greater Middle East: Past, Present, Future0
Review of Shakespeare’s The Merchant of Venice (Directed by Polly Findlay for the Royal Shakespeare Company) at the Royal Shakespeare Theatre, Stratford-upon-Avon, May 2015. Shown as part of “C0
Review of Shakespeare’s Much Ado About Nothing (Directed by Roy Alexander Weise for the Royal Shakespeare Company) at the Royal Shakespeare Theatre, Stratford-upon-Avon, 4 March 20220
Review of Shakespeare's La Tempête (Translated by Jean-Claude Carrière and Directed by Robert Carsen for La Comédie Française) at the Salle Richelieu, Paris, 9 December 2017–21 May 2018. Stream0
Review of Shakespeare’s Henry VI: Rebellion and Henry VI: War of the Roses (Directed by Owen Horsley for the Royal Shakespeare Company) at the Royal Shakespeare Theatre, 12 May 2022 and 0
Review of Shakespeare’s As You Like It (Directed by Ellen McDougall) at Shakespeare’s Globe, London, 8 September 20230
Close Reading: A Couplet from Love’s Labour’s Lost0
Review of Shakespeare’s Hamlet (Directed by Simon Godwin for the Royal Shakespeare Company) at the Royal Shakespeare Theatre, Stratford-upon-Avon, 8 June 2016. Shown as Part of “Culture in Quar0
Review of William Shakespeare’s Macbeth (Directed by Wils Wilson for the Royal Shakespeare Company) at the Royal Shakespeare Theatre, Stratford-upon-Avon, 20 September 20
Review of Titus Andronicus (Directed by Jude Christian for Shakespeare’s Globe) at the Sam Wanamaker Playhouse, London, 18 February 20230
Temporo-Corporeal Politics in Shakespeare’sHenry Vand Other Monster Texts0
Disrupted Dialogues: Exploring Misgendered Diagnoses and Experiences of Melancholia and Depression Through the Lens of Pericles and Contemporary Psychiatric Practice0
Review of Shakespeare’s Macbeth (Directed by Polly Findlay for the Royal Shakespeare Company) at the Royal Shakespeare Theatre, Stratford-upon-Avon, April 2018. Shown as Part of “Culture in Qua0
Review of Shakespeare’s Twelfth Night (Directed by Sean Holmes) at Shakespeare’s Globe, London, 6 and 7 August 20210
Review of Shakespeare’s Much Ado About Nothing (Directed by Simon Godwin) at the Lyttleton (National Theatre), London, 10 and 30 August 20220
Jewish Cultural Traditions within a Modernising Early Soviet Framework: Y. Goldberg's 1935 Yiddish Othello0
Review of Charlie Dupré's Compositor E (Directed by Amie Burns Walker) at the Network Theatre, London, 16 February 20230
“What, in a Town of War … to Manage Private and Domestic Quarrel?”: Othello and the Tragedy of Cyprus0
Constructing Inessential Shakespeare in the United States0
From Theory to Action: Staging a Feminist Production of The Taming of the Shrew0
William Shakeshafte, Player0
Shakespeare’s Englishes: Against Englishness0
Adapting the Merchant of Venice for Radio: An Interview with Emma Harding, Adapter and Director for BBC Radio Drama0
Review of Shakespeare’s A Midsummer Night’s Dream (titled Midsummer Night Stream) (Directed by Sid Phoenix for CtrlAlt_Repeat) via Zoom Streamed to YouTube, 11 April 20200
Review of Shakespeare’s Henry V (Directed by Max Webster for the Donmar Warehouse), Streamed to Cinemas by NT Live, 21 April 20220
The Merchant of Venice: The State of Play0
Dedication0
Review of Shakespeare’s The Two Gentlemen of Verona (Directed by Lee Dae-ung for Yohangza Theatre Company) at the Daehakro Arts Theatre, Seoul, South Korea, 26 May 20220
Review of Shakespeare’s Romeo and Juliet (Directed by José Zayas for the American Shakespeare Center) at the Blackfriars Playhouse, Staunton, Virginia, 25 February 20220
Taking Shakespeare in Stride: Lady Macbeth at the American Repertory Theatre0
Review of Shakespeare's The Adventures of Pericles (Directed for the Stage by Scott Wentworth; Directed for Film by Barry Avrich) at the Tom Patterson Theatre, Stratford, Canada. Staged 30 May-0
Review of Shakespeare’s Measure for Measure (Directed by Blanche McIntyre for Shakespeare’s Globe) at the Sam Wanamaker Playhouse, London, 10 December 20210
‘The Tale of Tereus’ and the Story of Procne: Innogen’s Bedside Reading0
Review of Shakespeare’s King Lear (Directed by Helena Kaut-Howson) at Shakespeare’s Globe, London, 1 June and 24 July 20220
Performing Babies and the Properties of Race and Ethnicity0
On the Threshold: Hospitality in Shakespeare’s Drama On the Threshold: Hospitality in Shakespeare’s Drama , by Sophie E. Battell, Edinburgh, Edinburgh University Press, 0
2 Henry VI and the Tomb of Duke Humphrey0
Horatio in Pieces: Or, How to Deal with Ghosts0
Review of Shakespeare’s Much Ado About Nothing (Directed by Kenny Leon for The Public Theater) at the Delacorte Theatre, 9 June 2019. Streaming as part of PBS’s Great Performances0
Review of John Fletcher’s The Faithful Shepherdess (Directed by Lizzie Conrad Hughes for Shake-Scene Shakespeare), Zoom, 26 November 20230
“Distinguishing Form”: Shakespeare, Perspective and the Heartlessness of Comedy0
Reviews of Shakespeare’s Othello (Directed by Emma Harding), BBC Radio 3, 19 April 2020 and Henry IV, Part 1 (Directed by Sally Avens), BBC Radio 3, 26 April 20200
Shakespeare and the Denial of Territory: Banishment, Abuse of Power and Strategies of Resistance , Shakespeare and the Denial of Territory: Banishment, Abuse of Power0
Imagining the Soul in Premodern Literature Imagining the Soul in Premodern Literature , by Abe Davies, Cham, Palgrave Macmillan, 2021, Early Modern Literature in History0
Shakespeare’s tercentenary: staging nations and performing identities in 1916 Shakespeare’s tercentenary: staging nations and performing identities in 1916 , by Monika S0
Review of Shakespeare’s The Merchant of Venice (Directed by Arin Arbus for the Theatre for a New Audience and the Shakespeare Theatre Company) at the Michael R. Klein Theatre at the Lansburgh, 0
Close Reading: Romeo and Juliet 3.5.9–100
Review of William Shakespeare’s The Tempest (Directed by Elizabeth Freestone for the Royal Shakespeare Company) at the Royal Shakespeare Theatre, Stratford-upon-Avon, 8 0
Review of Shakespeare’s The Winter’s Tale (Directed by Erica Whyman for the Royal Shakespeare Company), BBC Four, 25 April 20210
Shakespeare and the Elizabethan Reformation: Literary Negotiation of Religious Difference Shakespeare and the Elizabethan Reformation: Literary Negotiation of Religious Difference 0
‘What els do Maskes, but Maskers Show’: Masked Ladies in Shakespeare’s Comedies0
Introduction: Properties of Matter and Performance0
Shakespeare’s Ruins and Myth of Rome0
Shakespeare, Race and Nation: Introduction, a Conversation0
The Folgers’ First Folios0
Review of Shakespeare and Heiner Müller’s Macbeth (Directed by Michael Thalheimer for the Berliner Ensemble) at the Theater am Schiffbauerdamm, 29 November 2018. Shown as part of “BE At Home” P0
Interview with Preti Taneja0
The Duke of Gloucester’s Sword: Prosthetic Props in the Repertory of Edmund Kean0
Celebrity Plays and Embodied Fidelity0
Twelfth Night’s “Fustian Riddle”: A Puzzle with No Solution?0
Shakespeare and Accentism0
Untimely Breathings inThe Rape of Lucrece0
The Revolution’s Bloody Hands: Macbeth in Bolshevik Russia0
Review of Shakespeare Snapshots (Presented by the Royal Shakespeare Company’s The Winter’s Tale and The Comedy of Errors ensemble) at the Dell, Stratford-upon-Avon, 4, 11, 18 Sept0
Shakespeare’s Botanical Imagination0
Review of Hannah Khalil’s Adaptation of Shakespeare and Fletcher’s Henry VIII (Directed by Amy Hodge) at Shakespeare’s Globe, London, 16 September 20220
‘I Will Through and Through / Cleanse the Foul Body of Th’infected World, / If They Will Patiently Receive My Medicine’(As You Like It):Laughter and Fooling as Poison and Remedy0
Just How Remarkable was the ‘Jealous Moor’? Othello , Jealousy and Early Modern Racial Stereotypes0
Review of Shakespeare’s A Midsummer Night’s Dream (Directed by Ty Defoe for the Southwest Shakespeare Company), Zoom, 11 July 20200
The Impossibility of Turning Rancour to Love: The Post-war Controversy over the Pacifist Constitution and Yukio Ninagawa’s Construing of Romeo and Juliet0
Angry Jewish Resistance. Interpreting Shylock’s Rage0
Review of Thomas Dekker, John Ford, and William Rowley’s The Witch of Edmonton (Adapted and Directed by Laura Jay Wright for Creation Theatre) Online, 9 March 20220
Periclesand the Secret0
Error in Shakespeare: Shakespeare in Error0
‘Not on his Picture, but his Booke’: Shakespeare’s First Folio and Practices of Collection0
Polychronic Actants: Modern Promptbooks as Anticipated Acts, Unanticipated Acts, and Ideal Assemblages0
Review of Shakespeare’s Coriolanus (Directed by Josie Rourke), Donmar Warehouse; Directed for National Theatre Live Broadcast by Tim van Someren, 2014; Streamed on NT at Home, 20200
Review of Shakespeare’s Richard III (Directed by Adjoa Andoh) at Liverpool Playhouse Theatre, 13 April 20230
Yiddish Shakespeare: Romeo and Juliet, Translation and American Independent Cinema0
Review of Shakespeare’s Cymbeline (Directed by Gregory Doran for the Royal Shakespeare Company) at the Royal Shakespeare Theatre, Stratford-upon-Avon, 23 May 20230
Adonis in Fairyland: The Hazards of Boyhood in A Midsummer Night’s Dream0
Review of Shakespeare’s King Lear (Directed by Simon Godwin for the Shakespeare Theatre Company) at the Klein Theatre, Washington, DC, 15 March 20230
Shakespeare's Coriolanus (Directed by Robert Lepage for the Stratford Festival, and Directed for the Screen by Barry Avrich) at the Avon Theatre, 2018. Broadcast via Stratfest@Home, 30 April–280
Review of Shakespeare’s Julius Caesar (Directed by Diane Page) at Shakespeare’s Globe, London, 6 September 20220
Review of Shakespeare’s Romeo and Juliet (Directed by Ola Ince), Shakespeare’s Globe, London, 15 October 20210
Close Reading: The Inveighing, Envying Martius in Coriolanus 3.3.940
Review of Shakespeare’s Romeo and Juliet (Directed by Natasha Rickman for Creation Theatre), Online, 26 May 20210
Lessons for Whiteness: Keith Hamilton Cobb’sAmerican Moor0
Hamlet at the Himalayan Border: Frontier Imaginaries in Hu Xuehua’s Prince of the Himalayas and Vishal Bhardwaj’s Haider0
Shakespearean Echolalia: Autism and Versification inKing John0
One Book to Rule Them All: ‘The King James Version’ of Shakespeare’s Plays0
An Undoing of Pattern or a Pattern of Undoing? Sin, Folly and Chaos in Shakespeare’sKing Lear0
Close Reading: Reopening the Endings of Shakespeare's Sonnets 91 and 920
Hamlet and Lucretian Anxiety0
‘This it is when men are ruled by women’: The Ableists’ Curse and the RSC’s 2022 production of Richard III (directed by Gregory Doran) at the Royal Shakespeare Theatre, Stratford-upon-Avon, 23 0
‘On Pleasures Past, and Dangers to Ensue’: Site-Specific Violence and the Post-Renovation Rose Repertory0
Review of Ben Jonson’s The Alchemist, Adapted by Jeffrey Hatcher (Directed by Jesse Berger for the Red Bull Theater) at New World Stages in New York City, Streamed Digitally, 5 February 20220
Quickly’s Rawhide Notebook: Desentimentalising the Crux at Henry V, 2.3.15-160
Review of William Shakespeare's All's Well That Ends Well (Directed by Blanche McIntyre for the Royal Shakespeare Company) at the Royal Shakespeare Theatre, Stratford-upon-Avon, 31 August 20220
Counting to One: ‘One Flesh’ Marriage in Shakespeare and Fletcher’s The Two Noble Kinsmen0
Review of Shakespeare’s Much Ado About Nothing (Directed by Christopher Luscombe for the Royal Shakespeare Theatre), Stratford-upon-Avon, October 2014. Shown as Part of “Culture in Quarantine” 0
‘Dark Deeds Darkly Answered’ – The Political Economy of Prodigality inMeasure for Measure0
Shakespeare, Marston, and Getting to Moral Clarity through Comedy0
Editing Cruxes in Shakespeare’sMidsummer Night’s Dream: Folio, Quarto, Performance0
Shakespeare’s Virtuous Theatre: Power, Capacity, and the Good Shakespeare’s Virtuous Theatre: Power, Capacity, and the Good , edited by Kent Lehnhof, Julia Reinhard Lupt0
Metre, Rhythm, and Sounds of Silence in Shakespeare0
Hamlet Versus Othello: Or, Why the White Boy Keeps Winning0
Shakespeare in the World: Cross-Cultural Adaptation in Europe and Colonial India, 1850–1900 Shakespeare in the World: Cross-Cultural Adaptation in Europe and Colonial India, 1850–19000
Review of William Shakespeare’s A Midsummer Night’s Dream (Directed by Elle While for Shakespeare’s Globe), 31 July 20230
Shakespeare and Morality0
Shakespeare in Activism: Podcasts, Processions and the Public’sRichard II0
Close Reading: 1 Henry VI, 1.1.8-160
‘A Whiff of Jewish Pronunciation’ – Listening to Shylock in Germany0
A “True Chronicle Historie” of Britain:King Learand Its Early Catholic Audiences0
Spectrums of Shakespearean Crossdressing: The Art of Performing Women0
Antonio’s Sad Flesh0
Knowing What we are Making: Props, Scholarship, and the Pandemic0
The Nose Plays: Nasiform Negotiations at Newington Butts0
Ghosts, Holes, Rips and Scrapes: Shakespeare in 1619, Bibliography in the Longue Durée0
The Cambridge Companion to Shakespeare and Religion0
Shakespeare for Everyone? History, Dramaturgy, and the Black Flesh as Prop in Transracial Shakespeare0
Review of Shakespeare’s Henry VI and Richard III (directed by Sean Holmes and Ilinca Radulian for Shakespeare’s Globe) at the Sam Wanamaker Playhouse, London, 22 January (Matinée) and 230
Trees, Ballads, Iconoclasm and the Garden in Shakespeare’sRichard II0
Justice or Judgment? On Adaptations of Macbeth in Chinese Traditional Opera0
Review of Shakespeare’sOthello(Directed by Iqbal Khan for the Royal Shakespeare Company) at the Royal Shakespeare Theatre, Stratford-upon-Avon, June 2015. Shown as Part of “Culture in Quarantin0
Slings & Arrows and the State of Play in Shakespeare Studies0
Review of William Shakespeare’s Julius Caesar (Directed by Atri Banerjee for the Royal Shakespeare Company) at the Royal Shakespeare Theatre, Stratford-upon-Avon, 29 Mar0
Sound Logic: Verse Form, Musical Paradox, andThe Phoenix and the Turtle0
Dreaming of Serpents and Asses: Shakespeare’s Ovidian Animal Dreams inA Midsummer Night’s Dream0
Review of Thomas Middleton’s The Revenger’s Tragedy, Titled La Tragedia del Vendicatore (Directed by Declan Donnellan for Cheek by Jowl) at Piccolo Teatro di Milano, January 2021. Availa0
Review of Shakespeare’s King Lear (Directed by Richard Eyre), BBC and Amazon Studios (2018), BBC4, 26 April 20200
Review of Shakespeare's Much Ado About Nothing (Directed by Robert Hastie for Ramps on the Moon) at the Crucible, Sheffield Theatres, 20 September 20220
Dogs Urinating on the 1623 Folio: The Jaggard Press’s Dionysus Ornament in Context0
Introduction, or, Is Blank Verse Black?0
The “True King’s Queen”: Unlocking the Performance Potential of the Queen in Shakespeare’sRichard II0
Waugh’s Green World: Reconceptualising The Ordeal of Gilbert Pinfold as a Transcoded Production of King Lear0
Paradise Now: Desiring English Eden in Shakespearean Gardens and Early Modern Horticultural Books0
Shakespeare for Snowflakes: On Slapstick and Sympathy0
Exploring Contemporary Jewish Identity and Anti-Semitism via Metalepsis in Howard Jacobson’sShylock Is My Name(2016)0
Terms of Engagement: Keywords of Identity, Race, and Human Mobility in Early Modern England0
Review of Shakespeare’s Merry Wives (Adapted by Jocelyn Bioh, Directed by Saheem Ali for Shakespeare in the Park) at the Delacorte Theater, New York City, 15 September 20210
Shakespeare’s Hamlet : Philosophical Perspectives Shakespeare’s Hamlet : Philosophical Perspectives 0
The First Quarto of Hamlet and its Performance in London, 2010–110
Training Shakespeare's Yes in the Era of No0
John Caird on Shakespeare: An Interview0
Industrial Nature: The Unrealised King Lear of Norman Bel Geddes0
Review of Shakespeare’s Hamlet (Directed by Sean Holmes) at the Sam Wanamaker Playhouse, 3 March 20220
Hamlet’s Choice: Religion and Resistance in Shakespeare’s Revenge Tragedies Hamlet’s Choice: Religion and Resistance in Shakespeare’s Revenge Tragedies , by Peter Lake, 0
Afterword0
Richard III’s Bodies from Medieval England to Modernity: Shakespeare and Disability History0
Review of Shakespeare’s Romeo and Juliet (Directed by Erica Whyman for the Royal Shakespeare Company) at the Royal Shakespeare Theatre, Stratford-upon-Avon, May 2018. Shown as part of “Culture 0
Reading Robert Greene: Recovering Shakespeare’s Rival0
Review of Shakespeare's The Comedy of Errors (Directed by Sean Holmes) and Macbeth (Directed by Abigail Graham) at Shakespeare's Globe Theatre, London, 5 July 2023 and 9 August 20230
Black “(un)bookishness” inOthelloandAmerican Moor: A Meditation0
Review of Shakespeare and Wilkins’ Pericles (Directed by Paul Burbridge), York International Shakespeare Festival, Online Performance, 5–6 June; Catch-up Access 6 June–6 July, Reviewed 19 June 0
Review of Emma Frankland and Subira Joy’s Adaptation of John Lyly’s Galatea (Directed by Emma Frankland for Brighton Festival) at Adur Recreation Ground, Shoreham-by-Sea, 17 May 20230
Steel Caliban: A New Etymological and Alchemical Inquiry intoThe Tempest0
Review of The Duchess of Malfi (Directed by Laura Wright and Natasha Rickman for Creation Theatre), Performed via Zoom, 18 March 20210
Notes on the Couplet in the Sonnet0
Review of Arden of Faversham (Directed by Jesse Berger for the Red Bull Theater) and Francis Beaumont’s The Knight of the Burning Pestle (Directed by Noah Brady and Emily Young for the R0
Review of Marlowe’s Doctor Faustus (Directed by Ricky Dukes for the Lazarus Theatre Company) at the Southwark Playhouse, London, 3 September 20220
Inimitable Rarities?: Feather Costumes, Indigenous Artistic Labour and Early Modern English Theatre History0
0.029723882675171