Rollout of Newly Designed Internet Shakespeare Editions Site

The Shakespeare Conference: SHK 24.0553  Tuesday, 10 December 2013


From:        Hardy M. Cook <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         Tuesday, December 10, 2013

Subject:     Rollout of Newly Designed Internet Shakespeare Editions Site


Today in Facebook I saw two announcements of interest to all Shakespeareans. I will discuss the ISE here and MoEML in the next digest. But let me begin with my sincerest congratulations to Michael Best and Janelle Jenstad.


Michael Best, Coordinating Editor of ISE, wrote on The ISE Facebook page:


“Gasp. Whew. The new ISE site is up and running as of today. Months of work, but worth it. Check it out at”


Janelle Jenstad, Assistant Coordinating Editor of ISE, also wrote about the newly designed ISE site launch:


“Launched like a rocket! The new-look ISE site is up and running. Check it out. New look, smarter navigation, easier access to resources—and more content. Check out the left column of each page for features that allow you to search and view the site in different ways. We welcome your feedback. A big thanks to the many who contributed. Our editors, our Editorial Board, and the great team here at the University of Victoria that guided us to this point. Max Terpstra and Telka Duxbury led a great team of programmers and research assistant.”


I have had look at the site and it is truly impressive. Kudos to all.

To celebrate the launch, I am reproducing the December 2013 edition of The Shakespeare Herald, the ISE newsletter.


The Herald: December 2013


Welcome to the second issue of The Shakespeare Herald, the newsletter of the Internet Shakespeare Editions (ISE). In this issue, we trumpet our plans for redesign and the new texts we’re working on, as well as updates on the Chronicle, our mobile site, and our Making Waves campaign. And we wish all our readers the very best for the holiday season.


The ISE continues its tradition of introducing Shakespeare on stage and (digital) page in new and intuitive formats. We bring fully-edited, peer-reviewed works to a computer—or mobile device—near you. 


As we are currently in the midst of a redesign, we want to know what you would like to see on the site. What kind of features would enhance your digital Shakespeare experience? Let us know on our Facebook page or send us feedback.



A Notable Word from the Coordinating Editor


     Claudio.    Benedick, didst thou note the daughter of Signior Leonato?

     Benedick.  I noted her not, but I looked on her.
            (Much Ado About Nothing TLN 159-160 )


Typically, Benedick is teasing. His young friend Claudio wants to know whether Benedick was impressed by the attractive young Hero, daughter of their host. Benedick pours cold water on his enthusiasm by punning on “note”—he saw her (noticed her), but did not pay attention to her (note her).

We do this all the time. We notice things, we note things, and we take notes on the things that strike our notice. Until recently, one of the features of reading online was that there were no margins to scribble in, no way of adding our own thoughts to those we were reading on the screen in front of us. One of our copies of the first quarto of King Lear, from the British Library, has manuscript notes in it of this kind.

Now this is changing. One of the new tools we can offer those who become Friends of the ISE is the capacity to take (and save) notes as they work on our site. Friends (or clients of libraries that have become Friends) can log in, and can then access a link in our newly-designed Toolbox to permit them to highlight text, then enter their notes in a text box.

Because our works are produced by scholars, and peer-reviewed, the underlying text on the page will be unchanged—but visitors to the site can work online, creating their own web of comment for later reference, much as many of us do with a physical book we are studying.

If you have become a Friend of the ISE, please try out this notable feature.



New Texts Published


If you are in the mood for a shout of English patriotism, or need a good fiery comment to fire at a teenager who is being unusually challenging, the ISE now has modern-spelling texts ready for you to quote.


     Once more unto the breach, dear friends, once more,
    Or close the wall up with our English dead!
       (Henry V, (Modern, Folio), TLN 1084 )


     I would there were no age between ten and three and twenty, or that youth would sleep out the rest, for there is nothing in the between but getting wenches with child, wronging the ancientry, stealing, fighting. . .
     (The Winter's Tale (Modern), TLN 1504 )


James Mardock’s Henry V and Hardin Aasand’s Winter’s Tale are now fully published online. For each play you will find extensive introductory essays, explanatory notes on the language of the play, meticulous recording of textual variants, and a full complement of supplementary works from the period that provide a context for the study of Shakespeare’s plays.

One of the most powerful features of a digitally published work is that it can be improved over time. In the next months we will be adding multimedia, both in the provision of extensive graphics and some video clips of performance.


More on the way


We have recently published modern-spelling texts of Othello, A Midsummer Night's Dream, Richard II and Henry IV, Part Two



Our New Look and Additional Features


     “Fresh array and entertainment” (As You Like It, TLN 2207)


We are pleased to announce the launch of an enhanced and updated version of the site. We have taken advantage of advances in browser technology and interface design by offering a cleaner look and more detailed menus to guide our users through our extensive Shakespeare resources. We have also taken this opportunity to upgrade a number of features of the site, and to add some more tools for research.


Over the years we have made many changes and improvements to the site, at one stage experimenting with adding advertisements (we ended that experiment when they brought in very little to support the site). But in the rapidly-evolving world of the Internet we need to keep up with changing technologies and user expectations. The background graphic design and navigation of the site has been unchanged for several years, and it’s a tribute to the fine work done by our designers, Roberta Livingstone and Chris Chong that it lasted so well. When we first created our splash page, we were rather worried that it would ask too much of the then-narrow bandwith of most users on the Web. But times have changed, and it’s now possible to update the fonts, the general appearance of the site, and the means of navigating through it.


Some highlights

  • Enhanced menus at the top of the screen take you directly to the area of the site that has the information you seek.
  • We have moved our Toolbox and Page Contents from the right of the screen to the left. We found that some visitors were missing these features because they had become so used to ignoring advertisements in this space.
  • For Friends of the ISE we have added some new research tools:
    • The capacity to take and save notes on any page of the site.
    • A printable view of all annotations in any scene of the play (when fully edited).



Our thanks again to Roberta Livingstone, who worked with Jon Valade from IdeaZone in producing the graphics and the improved navigation. Our team of programmers and research assistants, under the leadership of Max Terpstra and Telka Duxbury, have worked hard to bring the new version to our global audience. 



An Update on the Chronicle


At the end of August, some ISE team members ventured out to see a special production of Twelfth Night at the annual Victoria Fringe Festival. The Japanese Ryuzanji Company put on a Rakujuku Kabuki style adaptation of the play, set in imperial Japan. “Rakujuku” loosely translates as “having fun troupe,” and the actors’ energetic performance never betrayed their average age of 61. The ISE crew enjoyed the performance so much that Janelle ended up going back for another showing with her children. You can find our collaborative review of the innovative and entertaining production on the ISE Performance Chronicle


Have you seen a Shakespeare production that you wish you could review? Are you a scholar, actor, student, or passionate theatergoer who loves to write? We’re always looking for more reviewers.


As an online journal devoted to contemporary Shakespeare theater reviews, the Chronicle provides a unique platform for theater practitioners, scholars, critics, and the general audience to analyze and discuss contemporary Shakespeare productions. The Chronicle calls attention to the different ways Shakespeare is performed around the world, and, through your contributions, will create a substantial and permanent database of informed criticism for future Shakespeare lovers and scholars. Photographs and other artifacts are heartily welcomed, and will be added to ISE’s Shakespeare in Performance database.


The Chronicle allows you to browse or search the reviews, post a review, comment on and rate others’ reviews, subscribe to receive email notification for a new review of a particular play, and search reviews for specific information.


If you are interested in contributing a review, please go to the site and create a logon id for yourself. You can enter details of a production, then review it. Or, if you prefer, you can email sipadmin[at] for more information.



After the Launch: Our Mobile Site


As we promised in our first issue of The Shakespeare Herald, we have launched the first version of our mobile site so that you can carry the ISE (and Shakespeare, by association) in your pocket wherever your journeys may take you. Developed for Android and Apple iOS, our mobile site has garnered interest by users both on tablets and phones. Not surprisingly, our most visitors are coming to us via iPad and iPhone, though some are using Android-powered devices. As intended, those of you visiting us via mobile device are viewing only the specific pages you need and staying just long enough to find the information required, presumably to use us to win an argument, and move along with your intense scholarly debate. We’re happy to help!


Still, less than 10% of our site traffic is coming from our mobile site. Remember that we are here to help you prove yourself right or your friends wrong in all aspects of Shakespearean debate. Need to determine which version of a line is the most authentic? Planning a Shakespearean night out and want to know when and where the next show of Measure for Measure is? Check us out on your phone or tablet and we’ll hook you up.


Haven’t tested the mobile site yet? Explore Shakespeare’s life and times, read the plays and poems, browse the performance database for adaptations of your favorite play. 


We’d love to hear your feedback! Submit your comments, questions, and ideas to help us optimize the mobile site. 



“Making Waves” with Friends of the ISE


Friends of the ISE are helping to create a legacy, allowing students around the globe (pun intended) to discover Shakespeare and learn why his works still inspire a passion in readers and performers four hundred years after his death. As innovators in the emerging field of open-access and digital scholarship, we are thrilled to invite you to join our thriving network of libraries who are building a sustainable future for the ISE so that we can continue providing your students and faculty with the best, most accessible Shakespeare resources.


Over the past year and half, over a dozen libraries across Canada, America, and Europe have partnered with the ISE to raise funds to ensure the that we continue to provide open access to peer-reviewed Shakespeare resources. As a result of these partnerships, we’ve passed our first milestone: we’ve raised $50 000 towards our $1.5 million goal, enough for us to create an endowment fund from which the revenue will eventually provide sufficient funds for the maintenance of the site, independent of granting agencies. This year we aim to double that.


For well over a decade the Internet Shakespeare Editions has been making the best literature freely available to those who thirst for knowledge. Now we are inviting you to become our partner as a Friend of the ISE.


Friends of the ISE receive additional benefits for their students and faculty. Our tool-box, designed especially for and accessible only to Friends of the ISE, includes a print-ready view of each page and a pop-up window with a formatted citation of each page. We have also recently added a print-ready view of all explanatory notes in the edited texts – a valuable tool for those who wish to work in detail on one of the fully edited and peer-reviewed plays. In addition, your institution will be acknowledged on our site.


Join our growing list of Friends


Not affiliated with an institution? Individual memberships for independent scholars and researchers will be available soon!  


For more information about the Making Waves campaign and becoming a Friend of the ISE, explore the library and individual membership pages or contact us directly by email at This email address is being protected from spambots. You need JavaScript enabled to view it. or by phone (250) 472-5152.



Shakespeare in the News


Year round here at the ISE we are constantly on alert for new Shakespeare facts or features in the news. Almost four hundred years after his death, Shakespeare is still showing up and proving his relevance around the world. Ever the master of the popular media in his time, Shakespeare permeates todays social media (as shown on our Facebook and Twitter pages). 


Shakespeare and Robben Island


Cowards die many times before their deaths;
The valiant never taste of death but once.
Of all the wonders that I yet have heard,
It seems to me most strange that men should fear,
Seeing that death, a necessary end,
Will come when it will come.
(Julius Caesar, TLN 1020-25 )


Nelson Mandela, imprisoned on Robben Island, highlighted these words in the much-thumbed copy of Shakespeare's works sneaked into the prison. Check out this moving video from VOA News where the director of the Folger Shakespeare Library talks about the copy of the Complete Works they have in their collection that shows the influence of Shakespeare' on prisoners on Robben Island. They read, learned from, and were entertained by Shakespeare during their sentences. 


Mandela would also have read these words, deeply appropriate as a tribute to the remarkable man who read them:


The last of all the Romans, fare thee well!

It is impossible that ever Rome
Should breed thy fellow.
(Julius Caesar, TLN 2589-91 )


We are privileged to have shared this world with Nelson Mandela, a man who combined so fully the virtues of integrity and humility with strength and remarkable political acumen.


Shakespeare as collaborator


Finding a lost Shakespeare work would be an extraordinary coup for any scholar. And there have been many candidates over the years, from the attribution of "A Funeral Elegy" to the recent claim that Theobald's play Double Falsehood was a version of the lost original, Cardenio, known to have been written by Shakespeare and his collaborator in two other late plays, John Fletcher.

The latest candidate is not a play, but some additions to an earlier work, Thomas Kyd's hugely popular revenge play The Spanish Tragedy. In August, the New York Times published an article reporting on the attribution of the additions to Shakespeare. The play was first published in 1592, then later, with the additions, in 1602. It was not uncommon for theater companies to update popular plays with topical passages, or speeches that picked up on changing tastes.

The passages were recently subjected to computer-aided stylistic analysis by Brian Vickers, who published an article in which he claimed a “definite attribution” to Shakespeare (Shakespeare 8:1 2012). The New York Times piece quotes Shakespeare Scholar Douglas Bruster, who has followed up with arguments based on what we know of Shakespeare’s handwriting and its effect on the published work. The ISE’s General Textual Editor, Eric Rasmussen, comments “We don’t have any absolute proof, but this is as close as you can get.”

The passages focus on the protagonist of the tragedy, Hieronymo, who has been driven mad by the murder of his son. One is an added monologue where he muses on the nature of the bond between father and son, wondering why a child should have a stronger hold on the parent than any other young animal:


     What is there yet in a son
    To make a father dote, rave, or run mad?
     Being born, it pouts, cries, and breeds teeth,
     What is there yet in a son? He must be fed,
     Be taught to go [walk], and speak. Ay, or yet?
     Why might not a man love a calf as well?
     Or melt in passion o'er a frisking kid [young goat]?
     As for a son? (3.9)


This may or may not be Shakespeare, but it is strong blank verse, and communicates an anger, if not madness, that is convincing. In due course The Spanish Tragedy will no doubt appear on our sibling site, Digital Renaissance Editions. When it does so, perhaps the additional passages will magically appear on the Internet Shakespeare Editions as well. In the digital world such magic is not difficult to program.


BBC Shakespeare to be released


The BBC is planning to release over 1,000 hours of Shakespeare materials—in audio and video—in time for the 400th anniversary of Shakespeare's death in 1616. An article in The Sunday Times (6 October) described the plans set out by the Director General of the BBC, Lord Hall, Baron of Birkenhead (aka Tony Hall). Lord Hall plans to return to something closer to the original aims of the BBC from its early years, when its mission was “educate, inform, entertain.” 

[An aside: in an age when arguably almost all television is focused purely on the third aim in this list, some attempt to return to the importance of education would be hugely welcome.] 

The Times remarked that the release of the materials will mean that “Viewers will be able to compare Sir John Gielgud’s 1948 Hamlet with the 1972 version by Sir Ian McKellen and the 2009 production by David Tennant. This wonderfully stimulating (educational, informative, entertaining) approach is exactly the aim of our own database of Shakespeare in performance. We will do our utmost to acquire as many of these materials as they become available for open access use.

[Another aside: playing Hamlet for the BBC seems to lead to an inevitable knighthood—so there is every likelihood that David Tennant will become the first Dr. Who to become Sir Doctor Who.]



The ISE is made possible by generous support from the University of Victoria, the Social Sciences and Humanities Research Council of Canada, and by libraries that have become Friends of the ISE.


Book Announcement: Shakespeare and the French Borders of English

The Shakespeare Conference: SHK 24.0551  Friday, 6 December 2013

From:        Michael Saenger <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:         December 5, 2013 at 12:26:46 PM EST
Subject:    Book Announcement

Dear SHAKSPERians,

I am very proud to announce the publication of my second book, Shakespeare and the French Borders of English, from Palgrave Macmillan, now available on Amazon. It is an ambitious theorization of Shakespeare’s relationship to France, as a country, as a historical and linguistic presence in England, and as a setting for his plays.  I won’t go on for long in this space, but I think you’ll find it a good read.

All the best,
Michael Saenger
Associate Professor of English
Southwestern University

Shakespeare and the French Borders of English

The Commodification of Textual Engagements in the English Renaissance

Latest Issue of Cahiers Elisabethains and Announcement

The Shakespeare Conference: SHK 24.0548  Thursday, 5 December 2013


From:        Jean-Christophe Mayer <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         December 4, 2013 at 1:56:39 PM EST

Subject:    Latest Issue of Cahiers Elisabethains and Announcemen


Dear List Members,


The latest issue of Cahiers Elisabethains is now available: Cahiers Elisabethains 84 (2013).


* We are proud to announce that as of 2014 our journal will be published in both print and electronic formats by Manchester University Press. For a free sample of the electronic version of our previous issue, click here: <> and to read the press release access <>


* Please note also that article submissions are now open for the next issues of the journal. For details about submissions and/or subscriptions, please see the end of this message or visit <>










Alice Leonard: “Enfranchised” Language in Henry V and The Dutch Courtesan


H. Gaston Hall: Repetition, Inversion and Metaphor in Two Moments of Hamlet


Gordon Jones: The Sad Shepherd Revisited



Susan L. Fischer: Opera as Theatre: Verdi’s “Mythical” Macbeth on the Boards of the French Stage


Sarah Hatchuel: Down to Earth: Branagh’s Macbeth at Manchester International Festival 2013



A Satire of the Three Estates, directed by Greg Thompson for “Staging the Scottish Court”, The Peel at Linlithgow Palace, 8 June 2013 (Lucy R. Hinnie)


Coriolanus, directed by Lin Zhaohua for the Beijing People’s Art Theatre, China, The Edinburgh Playhouse, Edinburgh International Festival, 20 August 2013 (Anne-Kathrin Marquardt)


Edward II, directed by Joe Hill-Gibbins, Olivier Theatre (National), London, 17 September 2013


A Mad World, My Masters, directed by Sean Foley for the RSC, Swan Theatre, Stratford-upon-Avon, 13 June 2013 (Peter J. Smith)


As You Like It, directed by Maria Aberg for the RSC, Royal Shakespeare Theatre, Stratford-upon-Avon, 24 April 2013 (James Stredder)


Othello, directed by Nicholas Hytner for the National Theatre, London, 22 June 2013 (Neil Allan)


Pericles, directed by Allyn Burrows, Actors’ Shakespeare Project, The Modern Theatre at Suffolk University, Boston, USA, 20 April 2013 (Kaara L. Peterson)


As You Like It, directed by Dan Rothenberg of Philadelphia’s Pig Iron Theatre, for The Acting Company in association with the Guthrie Theater, Dowling Studio, Minneapolis, USA, 15 January 2013; & The Taming of the Shrew and Twelfth Night, directed by Edward Hall for Propeller in association with the Touring Partnership, Guthrie Theater, Wurtele Thrust Stage, 6 March and 19 March 2013 respectively (Gayle Gaskill)


Richard III, directed by Tim Carroll at Shakespeare’s Globe Theatre, London, 13 September, and 6 October 2012 (José A. Pérez Díez)


Twelfth Night, directed by Tim Carroll, Shakespeare’s Globe Theatre, London, 27 September and 10 October 2012 (José A. Pérez Díez)


Harry The Sixth / The Houses of York and Lancaster / The True Tragedy of the Duke of York, directed by Nick Bagnall for Shakespeare’s Globe, Theatre Royal, York, 6 July 2013 (Peter Kirwan)


Macbeth, directed by Eve Best, Shakespeare’s Globe Theatre, London, 16 July 2013 (Peter J. Smith)


A Midsummer Night’s Dream, directed by Dominic Dromgoole, Shakespeare’s Globe Theatre, London, 31 May 2013 (Peter J. Smith)


The Tempest, directed by Jeremy Herrin, Shakespeare’s Globe Theatre, London, 7 May 2013 (Peter J. Smith)


Indian Tempest, directed by Paddy Hayter for Footsbarn in collaboration with Abhinaya Theatre, Shakespeare’s Globe Theatre, London, 1 August 2013 (Thea Buckley)



David Carnegie and Gary Taylor, eds., The Quest for Cardenio: Shakespeare, Fletcher, Cervantes, and the Lost Play, (Oxford: Oxford University Press, 2012) (Jeffrey Kahan)


Paul Edmondson and Stanley Wells, eds., Shakespeare Beyond Doubt (Cambridge: Cambridge University Press, 2013) (Peter Kirwan)


Pascale Aebischer, Screening Early Modern Drama: Beyond Shakespeare (Cambridge: Cambridge University Press, 2013) (Peter Kirwan)


Florence March, Shakespeare au Festival d’Avignon. Configurations textuelles et scéniques, 2004-2010 (Montpellier: L’Entretemps, 2012) (Nathalie Rivère de Carles)


Barbara L. Estrin, Shakespeare and Contemporary Fiction. Theorizing Foundling and Lyric Plots (Newark: University of Delaware Press, 2012) (Janice Valls-Russell)


BOOKS RECEIVED (Compiled by Janice Valls-Russell)


Submissions can be send to either of Cahiers's assistant editors: <This email address is being protected from spambots. You need JavaScript enabled to view it.> or <This email address is being protected from spambots. You need JavaScript enabled to view it.>


For more information, consult our website or write to: <This email address is being protected from spambots. You need JavaScript enabled to view it.>


With our best wishes for the festive season,

Jean-Christophe Mayer and Nathalie Vienne-Guerrin

Co-General Editors


Online HAMLET Lecture Announcement

The Shakespeare Conference: SHK 24.0546  Wednesday, 4 December 2013


From:        Jake Goldberg <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         December 4, 2013 at 11:18:34 AM EST

Subject:    Online HAMLET Lecture Announcement


For its next online event, LibertasU has invited two well-respected academics, Professors John Alvis and Thomas K. Lindsay, to discuss Shakespeare’s Hamlet from the perspectives of Hamlet, Fortinbras, and Machiavelli. Professor John Alvis will be presenting Shakespeare’s interpretation of Hamlet and Fortinbras, while Professor Tom Lindsay will be presenting Machiavelli’s views on both.


This lecture will be limited to 18 guests and will feature ample opportunity for questions, discussion and debate.


Where: The LibertasU virtual campus


When: Tuesday, December 10, 2013 at 8:00PM Eastern time


How: To register, send an email to This email address is being protected from spambots. You need JavaScript enabled to view it.


Info: For more information please visit

LibertasU is an independent and nonsectarian private institution, devoted to making high quality, liberal arts courses available to as many people as possible. It is committed to maintaining the highest level of academic integrity and to fostering a culture of open dialogue and debate of ideas.


Best regards,

Jake Goldberg


Globe 2014 Season Announcement

The Shakespeare Conference: SHK 24.0545  Wednesday, 4 December 2013


From:        Hardy Cook <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         December 4, 2013 at 12:39:33 PM EST

Subject:    Globe 2014 Season Announcement


Globe 2014 Season Announcement


Drawing together two momentous anniversaries: the 450th anniversary of Shakespeare’s birth and the centenary of the First World War, our next Globe season, entitled Arms and the Man, will include new productions of Shakespeare’s Antony & CleopatraJulius Caesar directed by Dominic Dromgoole, The Comedy of Errors directed by Blanche McIntyre, and a revisiting of Lucy Bailey’s 2006 production of Titus Andronicus.


The season will also bring four new write plays: Doctor Scroggy’s War by Howard Brenton, Holy Warriors by David Eldridge, Simon Armitage’s The Last Days of Troy and Richard Bean’s Pitcairn.


Next year’s touring productions will see the start of the global tour of Hamlet, a revival of this year’s King Lear, a mid-scale reworking of Dominic Dromgoole’s 2013 A Midsummer Night’s Dream and Much Ado About Nothing.


As part of our international Globe to Globe programme, Deafinitely Theatre will return to stage A Midsummer Night’s Dream in British Sign Language and Theatre Arpana will present All’s Well That Ends Well in Gujarati. Rakatá will stage Lope de Vega’s classic Punishment Without Revenge in Spanish.

Invitation to Bryn Mawr College SPT HENRY IV Directed by Rebecca Cook

The Shakespeare Conference: SHK 24.0539  Saturday, 30 November 2013


From:        Hardy M. Cook <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         Saturday, November 30, 2013

Subject:    Invitation to Bryn Mawr College SPT HENRY IV Directed by Rebecca Cook


I would like to invite anyone who would be in the west Philadelphia area December 5th, 6th, or 7th to the Bryn Mawr College Shakespeare Performance Troupe’s second production of the semester, HENRY IV, directed by Rebecca Cook. This is Rebecca’s debut at directing and the first time in memory that the SPT has mounted a history play. The performance will be staged in the Thomas Great Hall, which puts the Great Hall in Hogwarts to shame. 



The text relies most heavily on 1 Henry 4 but contains portions of 2 Henry 4 and the Epilogue to 2 Henry 4, performed by Rebecca Cook. Shakespeare dabbler Hardy Cook had a small hand in shaping this performance text. 


The production will have amazing costumes and dazzling fight scenes choreographed by a stage combat professional. The swords are pretty cool too.


I will be attending all three performances. If you come, please say hello. I am a Falstaff-looking guy sans cup of Sack but with a long ponytail. If you still don’t recognize me, I’ll be the guy beaming with fatherly pride.




Bryn Mawr College Shakespeare Performance Troupe Presents

Henry IV

By William Shakespeare

Thomas Great Hall

December 5th, 6th, and 7th

7:30 pm

(Doors open at 7:00)


Book Announcement: Shakespeare and Outsiders

The Shakespeare Conference: SHK 24.0537  Friday, 29 November 2013


From:        Marianne Novy <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         November 29, 2013 at 10:06:04 AM EST

Subject:    Book Announcement: Shakespeare and Outsiders


Amazon has a 30% discount on all books until December 1—so it’s a good time to considering ordering my new book, Shakespeare and Outsiders, in paperback in the Oxford Shakespeare Topics series.


Some of Shakespeare’s most memorable characters are treated as outsiders in at least part of their plays-Othello, Shylock, Malvolio, Katherine (the ‘Shrew’), Edmund, Caliban, and many others. Marked as different and regarded with hostility by some in their society, many of these characters have become icons of group identity. While many critics use the term “outsider,” this is the first book to analyse it as a relative identity and not a fixed one, a position that characters move into and out of, to show some characters affirming their places as relative insiders by the way they treat others as more outsiders than they are, and to compare characters who are outsiders not just in terms of race and religion but also in terms of gender, age, poverty, illegitimate birth, psychology, morality, and other issues.


Are male characters who love other men outsiders for that reason in Shakespeare? How is the suspicion of women presented differently than suspicion of racial or religious outsiders? How do the speeches in which various outsiders stand up for the rights of their group compare? Can an outsider be admired? How and why do the plays shift sympathy for or against outsiders? How and why do they show similarities between outsiders and insiders? With chapters on Merchant of Venice, Twelfth Night, Othello, King Lear, The Tempest, and women as outsiders and insiders, this book considers such questions with attention both to recent historical research on Shakespeare’s time and to specifics of the language of Shakespeare’s plays and how they work on stage and screen.


Reviews on Amazon by Phyllis Rackin, Michael Witmore, and Julie Bowman.


Marianne Novy

Professor of English

University of Pittsburgh


Shakespeare & Watson Web Series at Trip City

The Shakespeare Conference: SHK 24.0533  Monday, 25 November 2013


From:        Chris Miskiewicz <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         November 25, 2013 at 8:35:44 AM EST

Subject:    Shakespeare & Watson Web Series at Trip City


For Immediate Release: Fictitious Time Traveling Victorian Era Master Detective And Famous Elizabethan Playwright Open A Detective Agency In Williamsburg Brooklyn – The Adventures Of Shakespeare & Watson: Detectives Of Mystery


Trip City is proud to announce the launch of Shakespeare & Watson: Detectives of Mystery, a new web series from Chris Miskiewicz and Christopher Piazza.


The Adventures of Shakespeare & Watson Detectives of Mystery pairs William Shakespeare and Dr. John Watson as time traveling detectives who are trapped in the present after an accident with their time cane. Sherlock Holmes and Dr. John Watson have traveled to William Shakespeare’s era to solve “The Riddle of a Thousand Faces,” but Professor Moriarty sprang a clever ruse, breaking Sherlock’s “time cane,” causing a “temporal storm” that sends Sherlock and Moriarty to times unknown, and Shakespeare and Watson to the present. Together, the unorthodox partners have formed the premier detective agency in all of north Brooklyn to fight crime while trying to figure out a way to get back to their own eras.


The Adventures of Shakespeare & Watson: Detectives of Mystery premiered at Trip City, A Brooklyn-Filtered Literary Arts Salon, created & curated by Dean Haspiel  (Billy Dogma, Emmy Award Winning Artist of HBO's Bored to Death,) Seth Kushner (Leaping Tall Buildings,) Jeffrey Burandt (Americans UK) and writer Chris Miskiewicz (Everywhere, Thomas Alsop.


Shakespeare & Watson is a collaboration between Nicky Dog Pictures, PanopticonNYC, and Spygirl Pictures, starring David Blatt as a William Shakespeare, Chris Miskiewicz (Bored to Death/White Collar) as Doctor John Watson, Award-winning British graphic novelist Nick Abadzis as Sherlock Holmes, and rock & roll drumming legend Ozzie Martinez as the loveable Cracky. Directed by Christopher Piazza. Written by Chris Miskiewicz & Christopher Piazza. Edited by Kathleen Green.


 Contact @ This email address is being protected from spambots. You need JavaScript enabled to view it.

Follow Shakespeare & Watson @ Twitter @ShakesWatson and @LordCracky

Facebook @

Youtube @

Funny or Die @



Ralph Cohen Honored by the Folger Shakespeare Library

The Shakespeare Conference: SHK 24.0527  Wednesday, 21 November 2013


From:        Hardy Cook <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         November 20, 2013 at 2:38:09 PM EST

Subject:    Ralph Cohen Honored by the Folger Shakespeare Library


Ralph Alan Cohen, Director of Mission and Co-Founder of the American Shakespeare Center, has been awarded the 2013 Shakespeare Steward Award, presented annually by the Folger Shakespeare Library in recognition of outstanding contributions to the innovative teaching of Shakespeare in American classrooms.


Folger Director Michael Witmore presented Cohen with the award on October 26, 2013 at the closing event of the Blackfriars Conference, the American Shakespeare Center’s biennial gathering of scholarship on early modern drama.  “Ralph has a long been a leader in the community of Shakespeare scholars who see that there is much to learn from the practice of staging Shakespeare’s plays,” noted Witmore. “People think differently about Shakespeare and Renaissance drama because of what Ralph has done.”


Peggy O’Brien, the Folger’s Director of Education added, “Ralph is close to magical. All of his gifts—scholar, teacher, director, and entrepreneur—have driven work that has created lively and exciting Shakespeare experiences for hundreds of thousands of students and teachers. And the founding and growth of the American Shakespeare Center besides! It’s an honor for us at the Folger to honor him."


Past recipients of the Shakespeare Steward Award include the partnership between the Chicago Shakespeare Theater and Chicago Public Schools; scholars Gail Kern Paster and Jeanne Addison Roberts; the Denver Public Schools Shakespeare Festival; Peggy O’Brien; and the inaugural recipient, Susan Biondo-Hench, a high school English teacher in Carlisle, Pennsylvania who founded a student Shakespeare festival in her community.


In 1988, Cohen and Jim Warren formed the Shenandoah Shakespeare Express, a touring theatre company focused on bringing back the energy of early modern theatre by using their staging conditions. 25 years later, the company has been renamed The American Shakespeare Center, and has brought Shakespeare performances to hundreds of American communities and advanced an interest in Shakespeare and his times by building a re-creation of the Blackfriars Theatre and creating an American center for the performance and study of Shakespeare in Staunton, Virginia.


Cohen, Co-founder and Director of Mission at the American Shakespeare Center, is Gonder Professor of Shakespeare and Performance and founder of the Master of Letters and Fine Arts program at Mary Baldwin College.  


He has directed 30 productions of plays by Shakespeare and his contemporaries, including America’s first professional production of Francis Beaumont’s The Knight of the Burning Pestle. He also directed the first revival of Thomas Middleton’s Your Five Gallants and co-edited the play for Oxford University Press’s Collected Works of Thomas Middleton.


He is the author of ShakesFear and How to Cure It: A Handbook for Teaching Shakespeare. He twice edited special teaching issues of Shakespeare Quarterly and has published articles on teaching Shakespeare as well as on Shakespeare, Jonson, and Elizabethan staging. ShakesFear will see its second printing in 2014.


He founded the Studies Abroad program at James Madison University, where he won Virginia’s award for outstanding faculty. He has frequently directed summer institutes on Shakespeare and staging sponsored by the National Endowment for the Humanities. In 2001 he established the Blackfriars Conference, a biennial week-long celebration of early modern drama in performance.


In 2008 he won the Commonwealth Governor’s Arts Award along with ASC Co-Founder Jim Warren. In 2009 he was the Theo Crosby Fellow at Shakespeare’s Globe in London. He earned his undergraduate degree at Dartmouth College and his doctorate at Duke University and has honorary degrees from St. Lawrence University and Georgetown University. 


Hamlet: The Undiscovered Country, Second Edition and E-book

The Shakespeare Conference: SHK 24.0525  Tuesday, 20 November 2013


From:        Steve Roth <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         November 19, 2013 at 8:33:28 PM EST

Subject:    Hamlet: The Undiscovered Country, Second Edition and E-book


Fellow SHAKSPEReans: Many of you have been kind enough to support and help me with my Hamlet book, and I wanted to let you know that it's just been released in a second edition, and (finally) in an e-book edition.


It’s not hugely changed, but I have worked in many insights and corrections that have arisen since the first edition, many of them arrived at with your help. (Thanks!)


I’m especially pleased with the e-book version, which—because of the book’s many tables and other special text and graphic elements—was a challenging conversion. I think the e-book reading experience may be even better than print (something I rarely say about e-books). This not least because all the laboriously embedded hyperlinks to the play text, and to primary and secondary source materials, are working. 


If you’re among those I address above and I haven’t written to you directly offering a copy of the e-book, or if you’d like to consider it for class adoption, please don’t hesitate to drop me a line; I’d love to send you one. 


Thanks for listening,



Performance of King John

The Shakespeare Conference: SHK 24.0520  Monday, 18 November 2013


From:        Richard Waugaman <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         November 17, 2013 at 5:13:25 PM EST

Subject:    Performance of King John


An excellent production of King John will be performed for one more week near Washington, DC, at the Avant Bard Theater—


King John gave us Robin Hood and the Magna Carta. Find out why. In a fever dream of British royal history, Shakespeare’s most enigmatic king wrestles with covetous heirs, rebellious lords and his own conscience as he struggles to retain the throne–and his own sanity.


Directed by Artistic Director Tom Prewitt and featuring Acting Company members Christopher Henley, Cam Magee and Chuck Young.




Previews: October 27 at 2:00 pm, October 29-31 at 7:30 pm


Opening Night: Friday, November 1, 2013 at 7:30 pm.


Performances: Thursday-Saturday at 7:30 pm; Saturday and Sunday at 2 pm through November 24.


All previews and Saturday matinees are Pay What You Can!



For tickets, order online or call WSC Avant Bard at 703-418-4808.



Theatre on the Run

3700 South Four Mile Run Drive

Arlington, VA 22206


Richard Waugaman


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