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 2022-06-01 to 2026-06-01.)
ArticleCitations
‘Between the Red Rose and the White’: Staging Vegetal Materiality in the First Tetralogy10
Review of Charlie Dupré's Compositor E (Directed by Amie Burns Walker) at the Network Theatre, London, 16 February 20233
Review of Shakespeare’s Richard III (Directed by Adjoa Andoh) at Liverpool Playhouse Theatre, 13 April 20232
Review of Gareth Armstrong’s Shylock (Directed by Frank Barrie for Gareth Armstrong) at the Workshop Theatre, Leeds, 9 February 20242
William Shakeshafte, Player2
Inessential Anti-Blackness: Re-Imagining a Post-Lockdown Tempest2
Review of Shakespeare’s Measure for Measure (Directed by Blanche McIntyre for Shakespeare’s Globe) at the Sam Wanamaker Playhouse, London, 10 December 20212
Tragedizing the Mediation: Referentiality of the Medium and Disintegration of the Tragic Hero in the Turkish Miniseries Hamlet (2021)1
Brown Matter(s) in As You Like It1
‘A Woman’s Story at a Winter’s Fire’: Dramatic Text as Visual Imagery in Vishal Bhardwaj’s Feminised Variations on Macbeth , Othel1
Marlowe, Shakespeare, and Religious Toleration1
Hiding in Plain Sight – the (In)visibility of Shakespeare in the Films of Miklós Jancsó1
Shakespeare and the Law1
Uncanny Fidelity: Recognizing Shakespeare in Twenty-First-Century Film and Television1
‘The Pate of a Politician’: Anwar Ibrahim and the Political Appropriation of Shakespeare in the Press and on Social Media1
‘If I Were a Woman’: Oregon Shakespeare Festival 20251
In Defence of Transcultural Asian Shakespeare: The Case of Yang Jung-Ung’s Theatre1
Criticae Ficus Indica , or a Banyan Tree View of the Globalisation of Shakespeare Through Adaptation1
Roundtable: New Directions in Asian Shakespeare1
Introduction, or, Is Blank Verse Black?1
Interview with Anirban Bhattacharya1
Post-World War II Romeo and Juliets in Finland and Sweden, 1946–19471
Authorship Attributions in Middleton’s Canon: Collaboration, Revision, and Shakespeare Ascriptions1
Consuming Cleopatra: The Politics of Food and Desire in Antony and Cleopatra1
Shakespeare is Not Pie: Contingencies of Labour, Marginalisation, and Early Modern Studies1
Shakespeare and Gardens: Special Issue Introduction1
Paradise Now: Desiring English Eden in Shakespearean Gardens and Early Modern Horticultural Books1
Review of Shakespeare’s Richard II (Directed by Nicholas Hytner) at the Bridge Theatre, London, 22 April 20250
Editing Arden: The Dramatis Personae List in As You Like It0
Review of Cirkus (Motion Picture) (Directed by Rohit Shetty), Rohit Shetty Productionz and T-Series Films, 20220
Interview with Aparna Sen0
‘With his Head Broke’: The Occupational Hazards of Shakespeare’s Schoolmasters0
Re-localising Shakespeare in Pakistan: A Post-Dramatic Appropriation of Shakespeare’s The Taming of the Shrew as Illaj-e-Zid-Dasti0
Review of Shakespeare’s Measure for Measure (Directed by Emily Burns) at the Royal Shakespeare Theatre, Stratford-upon-Avon, 7 October 20250
Review of Shakespeare’s Othello (Directed by Tim Carroll for the Royal Shakespeare Company) at the Royal Shakespeare Theatre, Stratford-upon-Avon, Saturday 9th November 0
Shakespeare in Asian Currents: An Introduction0
Playbooks and their Readers in Early Modern England0
The Demetrius Dilemma: The Implications of Induced Love in A Midsummer Night’s Dream0
‘I Will Through and Through / Cleanse the Foul Body of Th’infected World, / If They Will Patiently Receive My Medicine’ (As You Like It ) : 0
Close Reading: Reopening the Endings of Shakespeare's Sonnets 91 and 920
Shakespeare and the New Palace of Westminster (1834–1927)0
Metre, Rhythm, and Sounds of Silence in Shakespeare0
The Shakspaires of Trinity Lane: A Possible Shakespeare Life-Record0
Love Deadline (Desdemona) , 2: Review of Choi Ji Young’s Love Deadline (Desdemona) (Directed by Choi Ji Young for the 2019 York International Shakespe0
Macbeth and the Nine Herbs Charm : A Genealogy of the Grotesque0
Hamlet’s Melancholic Imagination0
Shakespeare’s Fascist Followers: Modern Friends0
Introduction: Shakespeare in Crisis0
Review of Arden of Faversham by a Young Shakespeare and a Senior Collaborator (Directed by Gerald Baker for Richmond Shakespeare Society) at the Mary Wal0
Celebrity Plays and Embodied Fidelity0
Love as Bewitchment: Nimmi as the Third Witch in Maqbool0
Steel Caliban: A New Etymological and Alchemical Inquiry into The Tempest0
Review of Shakespeare’s Troilus and Cressida (Directed by Owen Horsley) at Shakespeare’s Globe, London, 1 October 20250
Review of Shakespeare’s Henry V (Directed by Max Webster for the Donmar Warehouse), Streamed to Cinemas by NT Live, 21 April 20220
Review of Shakespeare’s Hamlet (Directed by Rupert Goold) at the Royal Shakespeare Company, Stratford-upon-Avon, 26 February 20250
Review of Shakespeare’s Twelfth Night (Directed by Mei Ann Teo) at the Folger Theatre, 18 June 20250
Close Reading: A Couplet from Love’s Labour’s Lost0
Review of Shakespeare’s Romeo and Juliet (Directed by Jamie Lloyd for the Jamie Lloyd Company) at the Duke of York’s Theatre, 18 May 20240
‘I Have Immortal Longings in Me’: Shakespeare in the Lives of Fictional Immortals0
Review of Ham.net , Adapted by Sophia Carlin from Hamlet by William Shakespeare (Directed by Sophia Carlin for Hamlet Isn’t Dead) at Spit 0
Richard III’s Bodies from Medieval England to Modernity: Shakespeare and Disability History Richard III’s Bodies from Medieval England to Modernity: Shakespeare and Disability History0
Localising The Tempest in Malaya, via the Lambs: Cultural Resistance and Negotiation in Za’ba’s Cherita-Cherita Suka Shakespeare0
‘The Tale of Tereus’ and the Story of Procne: Innogen’s Bedside Reading0
Dark Renaissance: The Dangerous Times and Fatal Genius of Shakespeare’s Greatest Rival, Christopher Marlowe0
Shakespeare’s Fascist Followers: Modern Friends0
Close Reading: The Inveighing, Envying Martius in Coriolanus 3.3.940
Review of Shakespeare’s Romeo and Juliet , Adapted by Sarah Gobran and Matt Pinches (Directed by Matt Pinches for Guildford Shakespeare Company) at Guildford High Street0
Review of William Shakespeare and George Wilkins’s Pericles (Directed by Tamara Harvey for the Royal Shakespeare Company) at the Swan Theatre, Stratford-0
Review of Shakespeare’s The Tempest (Directed by Jamie Lloyd) at the Theatre Royal, Drury Lane, 14 December 20240
Review of Shakespeare's Macbeth (Directed by Max Webster) at the Donmar Warehouse, London, 2 Jan 2024 and Shakespeare's Macbeth (Directed 0
Review of William Shakespeare’s Love’s Labour’s Lost (Directed by Emily Burns for the Royal Shakespeare Company) at the Royal Shakespeare Theatre, Stratford-upon-Avon, 10
Shakespearean Echolalia: Autism and Versification inKing John0
Reunited: ‘The Great Bibles’ of Henry VIII and Thomas Cromwell (Exhibition), at the Hengwrt Gallery, National Library of Wales, Aberystwyth, Wales, UK, 21 June 2025–25 Novem0
Adaptation and Historical Resonance: Brigid Larmour and Tracy-Ann Oberman’s The Merchant of Venice 1936 (2023) and Michael Radford’s 0
Computational Shakespeare: Ambiguity, Abstraction and Adaptation in the Shakespeare Programming Language0
Timeless Counsel in a Time of Crisis: Rethinking The Misfortunes of Arthur (1587/8)0
Disability and Meta-Feelings in richard iii redux OR Sara Beer [is/not] Richard III by Kaite O’Reilly and Phillip Zarrilli0
Introduction0
Shakespeare and Morality0
Review of William Shakespeare’s A Midsummer Night’s Dream (Directed by Elle While for Shakespeare’s Globe), 31 July 20230
Review of Shakespeare’s King Henry VI, Part II (Adapted and Directed by Danielle Rosvally for the University at Buffalo Department of Theatre and Dance) at the Universit0
Review of Shakespeare’s Women (Directed by Ben Gould for Commedia of Errors) at the Studio Theatre, Grand Opera House, 9 November 2024 (Afternoon Performance)0
Editing Archipelagic Shakespeare0
Shakespeare for Everyone? History, Dramaturgy, and the Black Flesh as Prop in Transracial Shakespeare0
Review of Shakespeare's The Comedy of Errors (Directed by Sean Holmes) and Macbeth (Directed by Abigail Graham) at Shakespeare's Globe The0
Knowing What we are Making: Props, Scholarship, and the Pandemic0
Quickly’s Rawhide Notebook: Desentimentalising the Crux atHenry V, 2.3.15-160
Notes on the Couplet in the Sonnet0
Shakespeare Against War: Pacifist Readings0
Review of John Fletcher’s The Faithful Shepherdess (Directed by Lizzie Conrad Hughes for Shake-Scene Shakespeare), Zoom, 26 November 20230
Review of Webster’s The Duchess of Malfi (Directed by Rachel Bagshaw) at the Sam Wanamaker Playhouse, London, 20 March 20240
Ross and the Politics of Witnessing in Macbeth : Shakespeare and Coen0
Inessential Shakespeare: Contingency, Necessity, and Marginalization in Early Modern Drama0
Review of Shakespeare’s King Lear (Directed by Helena Kaut-Howson) at Shakespeare’s Globe, London, 1 June and 24 July 20220
Close Reading: 1 Henry VI, 1.1.8-160
Just How Remarkable was the ‘Jealous Moor’? Othello , Jealousy and Early Modern Racial Stereotypes0
The Treasure and the Thief: Scenes of Elopement in Shakespeare and Middleton0
Pericles VR – Immersive Shakespeare Adaptation for Southeast Asia0
Close Reading: Romeo and Juliet 3.5.9–100
‘To be or not to be’, Hamlet as Student and the Montaigne Connection0
Shakespeare in the World: Cross-Cultural Adaptation in Europe and Colonial India, 1850–19000
Identity Crisis: Shakespeare as Cultural Heritage0
Shakespeare’s Botanical Imagination0
‘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
Sympathy in Early Modern Literature and Culture0
‘Shakespeare Never Said That’: The Internet’s Thousand Hamlets0
Shakespeare and Virtue: A Handbook0
Romancing the Tamil Shrews: Intertextuality and Inter-Caste Marriage in Arivaali0
Review of Shakespeare’s Richard III (Directed by Elle While) at Shakespeare’s Globe, London, 3 July 20240
Marina’s School: Education and Vulnerability in Pericles0
Voices of the Past: Queer Influence and Poetic Salvage in Shakespeare’s Pericles, Prince of Tyre and Thomas Middleton’s Hengist, K0
Review of Hamlet , by William Shakespeare (Directed by Selina Cadell for Westbeth Entertainment, Mick Perrin Worldwide and John Gore) at the Greenwich House Theater in N0
Objectifying Desire in Goliyon Ki Rasleela: Ram-Leela0
Shakespeare and Scale: The Archive of Early Printed English0
Training Shakespeare's Yes in the Era of No0
Dedication0
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
Industrial Nature: The Unrealised King Lear of Norman Bel Geddes0
Review of Shakespeare’s As You Like It (Directed by Ellen McDougall) at Shakespeare’s Globe, London, 8 September 20230
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
Taking Shakespeare in Stride: Lady Macbeth at the American Repertory Theatre0
Visualising Touch: Hand Imagery in Zeffirelli’s and Luhrmann’s Film Adaptations of Romeo and Juliet0
Shakespeare’s Compassion: Emotion and the Classics on the Early Modern Stage0
Into the Narrative Soil: Prose Translation, Modernity, and Global Shakespeare0
Review of Shakespeare’s The Winter’s Tale (Directed by Yaël Farber for the Royal Shakespeare Company) at the Royal Shakespeare Theatre, Stratford-upon-Av0
Shakespeare’s Violence and the Early Modern Spectator0
Shakespeare in Action0
Reworking Shakespeare: Romeo and Juliet to Maro Charithra0
Review of Emma Frankland and Subira Joy’s Adaptation of John Lyly’sGalatea(Directed by Emma Frankland for Brighton Festival) at Adur Recreation Ground, Shoreham-by-Sea, 17 May 20230
Shakespeare and the Comedy of Enchantment0
Eco-Imaginaries from Shakespeare to Tang Xianzu0
Shakespeare, Marston, and Getting to Moral Clarity through Comedy0
Review of Shakespeare’s Julius Caesar (Directed by Diane Page) at Shakespeare’s Globe, London, 6 September 20220
The Forensic Invention of Leontes’ ‘Affection!’ in The Winter’s Tale0
‘To Be Otherwise’: Hamletian Subjectivity and Posthuman Agency in Westworld0
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
‘On Pleasures Past, and Dangers to Ensue’: Site-Specific Violence and the Post-Renovation Rose Repertory0
Love Deadline (Desdemona) , 1: Script of Love Deadline (Desdemona) , by Choi Ji Young0
On the Threshold: Hospitality in Shakespeare’s Drama0
Where Did Shakespeare Get Married?0
‘Poor Tom O’Bedlam’: Identifying the Subsistence Migrants of Early Modern England in Shakespeare’s King Lear0
Editing Cruxes in Shakespeare’s Midsummer Night’s Dream : Folio, Quarto, Performance0
The Renaissance of the Saints After Reform0
Constructing Inessential Shakespeare in the United States0
Review of Brian Dykstra’s Polishing Shakespeare (Directed by Margarett Perry for the Twilight Theatre Co. in Association with Kitchen Theatre Company) at0
Shakespeare on the Ecological Surface0
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 Romeo a Juliet (Translated by J. T. Jones and Directed by Steffan Donnelly for Theatr Cymru in Association with Shakespeare’s Glo0
The Politics of Desire: The Sexual Exploitation and Maternal Longing of Laili / Lady Macbeth in Anirban Bhattacharya’s Mandaar (2021)0
Review of Shakespeare’s The Winter’s Tale (Directed by Heidi Vaughan for Tobacco Factory Theatres) at the Tobacco Factory, Bristol, 25 February 20250
Shakespeare Grafting0
‘And All Is Semblative a Woman’s Part’: Japan’s All-Male As You Like It0
‘What Now Ensues’: Nowness, the Chronotope and Ritualistic Atemporality in Pericles, Prince of Tyre0
Shakespeare’s New Mediators: Theatre Space and the Celebrity Actor in Broadcast Paratexts0
Introduction: Properties of Matter and Performance0
Shakespeare and the Elizabethan Reformation: Literary Negotiation of Religious Difference Shakespeare and the Elizabethan Reformation: Literary Negotiation of Religious Difference 0
Fathoming the Deep in English Renaissance Tragedy: Horror, Mystery, and the Oceanic Sublime0
Review of Shakespeare’s Othello (Directed by Ola Ince for Shakespeare’s Globe) at the Sam Wanamaker Playhouse, London, 8 February 20240
Shakespeare in Activism: Podcasts, Processions and the Public’s Richard II0
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
The Folgers’ First Folios0
Antonio’s Sad Flesh0
The Dramaturgy of Ophelia’s Bouquet0
Shakespeare and the Denial of Territory: Banishment, Abuse of Power and Strategies of Resistance0
Correction0
Santiago : Making Bilingual Shakespeare Count0
Shakespeare’s Ruins and Myth of Rome0
Shakespeare, Neurological Identity, and Early Modern Neurodiversity Studies: A Neurological Approach to ‘Character’0
Counting to One: ‘One Flesh’ Marriage in Shakespeare and Fletcher’s The Two Noble Kinsmen0
‘Not on his Picture, but his Booke’: Shakespeare’s First Folio and Practices of Collection0
Shakespeare for the Future: The Humble Activism of Slow Reading0
The Duke of Gloucester’s Sword: Prosthetic Props in the Repertory of Edmund Kean0
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 Thomas Middleton’s Michaelmas Term (Directed by Perry Mills for Edward’s Boys) at the Inner Temple, London, 17 March 20230
Indict the Author of Affection: Affectation and Catachresis in Hamlet0
Staging Female Characters in Shakespeare’s English History Plays0
Review of Marlowe’s Edward II (Directed by Daniel Raggett) at the Swan Theatre, Stratford-upon-Avon, 1 April 20250
The Rich Gloss of Surface: Allegory and Sacred Theft in The Merchant of Venice0
Review of Nell Gwynn by Jessica Swale (Directed by Philip Crawford), Presented by the Lyric Drama Studio at the Naughton Studio, Lyric Theatre, Belfast, 10 May 20250
Giles, John, and Will: The Fletchers and Shakespeare in Bishopsgate Street, London, 15960
Hamlet at the Himalayan Border: Frontier Imaginaries in Hu Xuehua’s Prince of the Himalayas and Vishal Bhardwaj’s Haider0
‘[S]he-Mercury’: Broadening Female Neighbourly Networks in The Merry Wives of Windsor0
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 Mic0
Review of Robert Icke’s Player Kings , an Adaptation of Shakespeare’s 1 and 2 Henry IV (Directed by Robert Icke) at the Noël Coward Theatr0
Bound by Non-action: The Art of Not Doing in The Banquet and Prince of the Himalayas0
Bandwagon of Brothers: Self-Propaganda in the St Crispin’s Day Speech0
Shakespeare: The Man Who Pays the Rent0
Camp on Campus: Love’s Labour’s Lost ’s Queer Scholar0
Mothers, Motherhood and the Feminine in Fiennes’s Coriolanus0
Review of Titus Andronicus (Directed by Jude Christian for Shakespeare’s Globe) at the Sam Wanamaker Playhouse, London, 18 February 20230
Gender Reversals in Contemporary Shakespeare Adaptations: The Case of the National Theatre at Home During the Pandemic0
The Spectral and Grotesque Mechanisms of Power in Ümit Kıvanç’s Macbeth: Muhitimize Uyarlama Denemesi [Macbeth: An Adaptation Attempt to Our Political La0
Neighbourly Relationships in Early Modern Drama: Staged Communities,0
Review of Christopher Marlowe’s Edward II (Directed by Daniel Ragget) at the Royal Shakespeare Company, Swan Theatre, 11 March 20250
She Speaks! What Shakespeare’s Women Might Have Said0
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
From Theory to Action: Staging a Feminist Production of The Taming of the Shrew0
Our Discontents: RD3RD and the Theatre of Cruelty0
Adapting Shakespearean Romance in Indian Cinema: An Introduction0
Performing Babies and the Properties of Race and Ethnicity0
‘Wilt Break My Heart?’ Takotsubo Syndrome and Shakespeare’s Discourse of Heartbreak in Antony and Cleopatra and King Lear0
Review of Shakespeare’s Richard III (Directed by Oisín Kearney) at the Lyric Theatre, Belfast, 3 November 20240
What is a Shakespearean Actor? Fahadh Faasil and Malayalam Cinematic Adaptation0
Hercules or Theseus, Lapiths or Pholus? Duke Theseus and the Fight with Centaurs in A Midsummer Night's Dream0
One Book to Rule Them All: ‘The King James Version’ of Shakespeare’s Plays0
Review of Titus Andronicus (Directed by Max Webster) at the Swan Theatre, Stratford-upon-Avon, 31 May 20250
Women, Speech, and Protagonism on the English Stage, 1550–1700: A Quantitative Exploration0
Sistering the Natural Roses: Glimpses of Female Fellowship in Pericles0
Review of Shakespeare’s King Lear (Directed by Simon Godwin for the Shakespeare Theatre Company) at the Klein Theatre, Washington, DC, 15 March 20230
Review of Arden of Faversham (Directed by Jesse Berger for the Red Bull Theater) and Francis Beaumont’s The Knight of the Burning Pestle (0
‘Though she be but little, she is fierce’: Popular Feminism and A Midsummer Night’s Dream0
‘What els do Maskes, but Maskers Show’: Masked Ladies in Shakespeare’s Comedies0
The End(s) of The Tempest in Post-apartheid South Africa0
Review of Shakespeare’s King Lear (Directed by Clive Brill) on BBC Radio 4 in Two Parts, 8 and 15 June 20250
Horatio in Pieces: Or, How to Deal with Ghosts0
Mirroring the ‘Other’: Intertextuality in Aparna Sen’s Arshinagar (2015)0
The Theatrical Legacy of Thomas Middleton, 1624–20240
Thomas Kyd: Two New Books0
Shakespeare in London , an Exhibition at The London Archives, Clerkenwell, London, UK 30 June 2025 to 25 September 20250
Review of Shakespeare’s Twelfth Night (Directed by Michael Oakley) at Arts Theatre Cambridge, 24 January 20260
Disabled for England: Crip/Queer Veterans in Henry V0
Review of Marlowe’s Doctor Faustus (Directed by Ricky Dukes for the Lazarus Theatre Company) at the Southwark Playhouse, London, 3 September 20220
‘Fears and Scruples Shake Us’: Ecological and Perceptual Instability in Macbeth0
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
Waugh’s Green World: Reconceptualising The Ordeal of Gilbert Pinfold as a Transcoded Production of King Lear0
Review of Grand Theft Hamlet , Motion Picture (Directed by Sam Crane and Pinny Grylls), Project 1961 / Grasp the Nettle, 2024. Streaming on MUBI0
Dogs Urinating on the 1623 Folio: The Jaggard Press’s Dionysus Ornament in Context0
‘A Rock Star’ and ‘a Standup Comedian’: Celebrity Politicians’ Performances in Thomas Ostermeier’s Richard III0
Imagining the Soul in Premodern Literature Imagining the Soul in Premodern Literature , by Abe Davies, Cham, Palgrave Macmillan, 2021, Early Modern Literature in History0
Afterword: Reflections from Afar, with Hope for our Collective Future0
Shakespeare and Digital Performance in Practice0
Justice or Judgment? On Adaptations of Macbeth in Chinese Traditional Opera0
Listening to First Quartos: The Women of The Merry Wives of Windsor and Henry V0
Sound Logic: Verse Form, Musical Paradox, andThe Phoenix and the Turtle0
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
Introduction: To the Reader; or, What’s in a Folio?0
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 Shakespeare’s Much Ado About Nothing (Directed by Simon Godwin) at the Lyttleton (National Theatre), London, 10 and 30 August 20220
Review of Shakespeare’s Romeo and Juliet (Choreographed by Christopher Gable and Massimo Moricone to Sergei Prokofiev’s Score for Northern Ballet) at the Sheffield Lyceu0
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
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
Review of Shakespeare’s Merry Wives of Windsor (Directed by Blanche McIntyre) at The Royal Shakespeare Theatre, 18 and 20 July 2024; and As You Like It0
‘The Unbearable Whiteness of Milk’ and More-than-human Nurture in Titus Andronicus0
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
All’s Well That Ends Well ’s Paroles and the Bisexual Miles Gloriosus : Early Modern Expectations, Modern Stagings0
Metrical Variation and Metrical Emendation in Q1Hamlet0
Review of Shakespeare’s Hamlet (Adapted and Directed by Ara Yernjakyan for the Yerevan Chamber Theatre) at the Fifth International Shakespeare Conference0
Review of Elizabeth and Mary: Royal Cousins, Rival Queens (Exhibition), British Library, London, UK, 10 October 2021–20 February 20220
A Post-Maidan Hamlet : Testimonial Performance, Queer Temporality and the Limits of Recognition0
Accruing Gravitas, or Why There Isn’t a Latino King Lear (Yet)0
0.1801278591156