CFP: Pacific Northwest Renaissance Society

The Shakespeare Conference: SHK 25.269  Sunday, 8 June 2014


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

Date:         June 7, 2014 at 12:36:23 AM EDT

Subject:    CFP: Pacific Northwest Renaissance Society


Call for Papers

Pacific Northwest Renaissance Conference

October 17 and 18

Kelowna, British Columbia


This is the second version of this call for papers. Please note the new conference dates, and new deadline for proposals.


The next meeting of the Pacific Northwest Renaissance Conference will take place on October 17 and 18 in Kelowna, a resort town at the centre of British Columbia’s wine country. 


The theme of this year’s conference is “The Global Renaissance.” George Saliba, of Columbia University, and Lesley Cormack, of the University of Alberta, will provide keynote addresses.


While the Renaissance is usually considered a European event, neither its sources nor its influence are confined to western Europe. We therefore seek to work actively with scholars of both European and transatlantic culture and society from 1300-1700, including art historians, economists, historians, scholars of religion, theatre historians and practitioners, scholars in the history of science and medicine, political scientists, and comparativists. The theme should be understood broadly, but we particularly welcome papers on exploration narratives, geographical knowledge, and contact and influence between cultures and languages. Papers are usually presented in English, but may concern the literature, history or culture of any language.


The Pacific Northwest Renaissance Society (PNRS) promotes scholarship in Early Modern Studies by hosting an annual conference, held alternately in the United States and Canada and open to all scholars from North America and beyond, including graduate students. The PNRS is an affiliate of both the Renaissance Society of America and the Canadian Society for Renaissance Studies / Société Canadienne d’études de la Renaissance.


For individual papers, please send a one-page abstract or proposal and a one-page c.v. to This email address is being protected from spambots. You need JavaScript enabled to view it. no later than July 15th, 2014.


To propose a panel, please send an abstract for each paper, a one-page c.v. for each presenter, and a paragraph from the panel organizer describing the overall focus of the session to This email address is being protected from spambots. You need JavaScript enabled to view it. no later than July 15th, 2014.


Papers must be kept to a twenty-minute reading time, including any technical and electronic support. All papers should be essentially new and never before presented in public.


For more information see:


Sean Lawrence

Associate Professor

Department of Critical Studies

CCS Building, 3333 University Way

University of British Columbia

Kelowna, BC  V1V 1V7


Board Vacancy: Web and Communications Officer

The Shakespeare Conference: SHK 25.268  Sunday, 8 June 2014


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

Date:         June 6, 2014 at 6:42:07 AM EDT

Subject:    Board Vacancy: Web and Communications Officer


British Shakespeare Association


There is currently a vacancy on the board for a Web and Communications Officer. This position was previously held by Peter Kirwan, who has now become Membership Officer. This is a volunteer position so it is unpaid, but reasonable expenses will be met. 

The main duty of the Web and Communications Officer will be to update the BSA website ( and co-ordinate BSA publicity. The Officer will need to be competent at using Wordpress (or familiar with similar packages) effectively for blogging and experienced at using social media (twitter, facebook etc.). No other technical skills are required as we already employ a freelance web designer. The Officer will become a full Trustee and Director of the British Shakespeare Association and will present either verbal or written reports to the Board about the website. The Board meets three times a year for business meetings and once a year for the AGM. Meetings are usually held in Stratford-upon-Avon. This position will remain open until filled.

For an informal chat about this opportunity please contact me directly at This email address is being protected from spambots. You need JavaScript enabled to view it..

This is a very important role on the Board and we are keen to get the best person for it. If you know someone who you think would be a good candidate but is not currently a member of the BSA please ask them to get in touch.

Best wishes
Stuart Hampton-Reeves

Chair of the Board of Trustees


Shakespeare and the Digital World: Redefining Scholarship and Practice

The Shakespeare Conference: SHK 25.266  Thursday, 5 June 2014


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

Date:         Thursday, June 5, 2014

Subject:    Shakespeare and the Digital World: Redefining Scholarship and Practice


I would like to announce the electronic publication of Christie Carson’s and Peter Kirwan’s Shakespeare and the Digital World: Redefining Scholarship and Practice. I bought it for my Kindle today. The hardcover and paperback are scheduled for publication on July 31, 2014.


The book may be of interested to subscribers of SHAKSPER. I might add that SHAKSPERean Peter Holland has an essay “Shakespeare in virtual communities” that has some kind words for SHAKSPER at its best.


Shakespeare and the Digital World: Redefining Scholarship and Practice [Kindle Edition] Hardcover and Paperback available July 31, 2014


Christie Carson (Editor), Peter Kirwan (Editor)


Due to the unique cultural capital of his works, Shakespeare has long been the test subject for new methods and digital advances in arts scholarship. Shakespeare sits at the forefront of the digital humanities—in archiving, teaching, performance and editing - impacting on scholars, theatres and professional organisations alike. The pace at which new technologies have developed is unprecedented (and the pressure to keep up is only growing). This book offers seventeen new essays that assess the opportunities and pitfalls presented by the twenty-first century for the ongoing exploration of Shakespeare. Through contributions from a broad range of scholars and practitioners, including case studies from those working in the field, the collection engages with the impact of the digital revolution on Shakespeare studies. By assessing and mediating this sometimes controversial digital technology, the book is relevant to those interested in the digital humanities as well as to Shakespeare scholars and enthusiasts.


This collection critically assesses the opportunities and pitfalls presented by recent digital advances in Shakespeare studies. Featuring contributions from archivists, scholars, teachers, publishers, arts practitioners and digital innovators, this collection is relevant to those interested in the digital humanities as well as to Shakespeare scholars and enthusiasts.


Christie Carson is Reader in Shakespeare and Performance in the Department of English at Royal Holloway, University of London. She is the co-editor of The Cambridge King Lear CD-ROM: Text and Performance Archive (Cambridge University Press, 2000), Shakespeare’s Globe: A Theatrical Experiment (with Farah Karim-Cooper, Cambridge University Press, 2008), Shakespeare in Stages: New Theatre Histories (with Christine Dymkowski, Cambridge University Press, 2010) and Shakespeare Beyond English: A Global Experiment (with Susan Bennett, Cambridge University Press, 2013).


Peter Kirwan is Lecturer in Shakespeare and Early Modern Drama at the University of Nottingham. He was an Associate Editor for Collaborative Plays by Shakespeare and Others (2013) and he has published widely on the history of the Shakespeare Apocrypha and contemporary Shakespearean performance. His interest is in the intersection between textual, performance and media cultures.




Notes on contributors 



Shakespeare and the digital world: Introduction 

Christie Carson and Peter Kirwan 


Part I Defining current digital scholarship and practice: Shakespeare research in the digital age 


1 Shakespeare in the digital humanities 

John Lavagnino 

2 Getting back to the library, getting back to the body 

Bruce R. Smith 

3 Sensing the past: Tablets and early modern scholarship 

Farah Karim-Cooper 

4 Webs of engagement 

David McInnis 


Part II Defining current digital scholarship and practice: Shakespeare pedagogy and the digital age 


5 Internal and external Shakespeare: Constructing the twenty-first-century classroom 

Erin Sullivan 

6 Shakespeare at a distance 

Sarah Grandage and Julie Sanders 

7 ‘All great Neptune’s ocean’: iShakespeare and play in a transatlantic context 

Sheila T. Cavanagh and Kevin A. Quarmby 

8 ‘From the table of my memory’: Blogging Shakespeare in/ out of the classroom 

Peter Kirwan 


Half-time: A pause for reflection 

9 All’s well that ends Orwell 

Sharon O’Dair 


Part III Redefining the boundaries and practices of Shakespeare studies online: Publishing and academic identity 


10 Unlocking scholarship in Shakespeare studies: Gatekeeping, guardianship and open-access journal publication 

Eleanor Collins 

11 Living with digital incunables, or a ‘good-enough’ Shakespeare text 

Katherine Rowe 

12 Shakespeare in virtual communities 

Peter Holland 

13 Gamekeeper or poacher? Personal blogging/ public sharing 

Sylvia Morris 


Part IV Redefining the boundaries and practices of Shakespeare studies online: Communication and performance 


14 Changing a culture with the Shakespeare Birthplace Trust: Championing freedom and democracy 

Paul Edmondson and A. J. Leon 

15 Developing a digital strategy: Engaging audiences at Shakespeare’s Globe 

Ryan Nelson 

16 The impact of new forms of public performance 

Stephen Purcell 

17 Creating a critical model for the twenty-first century 

Christie Carson 


Conclusion: Digital dreaming 

Christie Carson and Peter Kirwan 




SHAKSPER’s Future: Looking for Volunteers for SHAKSPER Features and Assistant/Associate Editors

The Shakespeare Conference: SHK 25.251  Wednesday, 28 May 2014


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

Date:         Wednesday, May 28, 2014

Subject:     SHAKSPER’s Future: Looking for Volunteers for SHAKSPER Features and Assistant/Associate Editors


Dear SHAKSPER Subscribers,


SHAKSPER has been a part of my life for 25 years, and for all but the first year and a half I have been its editor/moderator. I have no plans to step down at any time in the near future, but I would like to leave it in good hands when I do. Increasingly, I am also pursuing other interests, academic and non-academic.


Currently, SHAKSPER is being “hosted” by Ron Severdia (who designed the new web presence) on the sever, so even if I am hit by a bus tomorrow, SHAKSPER will still exist. Tanya Gough, who designed the SHAKSPER Facebook page, is an administrator of it, so it too will continue to exist. If something were to happen to me, I have two advisory boards that I hope will decide if SHAKSPER is still viable and will seek a person or persons to continue its work.


I am increasingly aware that as much as I might wish otherwise I cannot do all that I would like to keep SHAKSPER up-to-date.


In particular, I am concerned with the future of some of the scholarly resources on the web site. I don’t feel as if I have the energy to work with them since I want to spend my scholarly time working other projects, some longstanding, but I feel them sufficiently important to warrant that some of them be updated or continued if possible. 


I am currently seeking volunteers to take responsibility for some of these with the long-term view of perhaps finding a successor among these volunteers. My younger daughter has one more year of college, and I plan to be taking breaks, some long and for which I will not have computer access. So at some point, I would like to train one or more persons to who might be able to take over from me during my absences, but let me not get ahead of myself.


Shakespeare on the Internet Guide has not been updated in about five years. Someone has been recruited to update it and its links and will be working on it this summer: <>


Shakespeare Spinoffs/Character Bibliography: These lists (found in the Reference files section of Scholarly Resources) were very popular during the early days of SHAKSPER but have not been updated since around the late 1990s. Someone has shared her up-to-date list of similar titles with me to be combined with the existing lists, but she is not interested in undertaking that task herself. Is there anyone who would volunteer to combine the older Spinoffs and Character bibliographies with the new one I have. This actually is a fun job if anyone has the time or interest. <>


Shakespeare Plays and Festivals: I started this last summer from available resources. When I was a contributing editor to the Shakespeare Newsletter I compiled a similar list for some years. Is there anyone who is interested in updating this list for this year? <>


Pedagogy: Teaching Resources: At present, this section of the web site contains only resources that I have used or made available. Pedagogy is a hot topic. I would like to recruit someone as an Assistant Editor who would be in charge of developing further this section of the web site: <> Is anyone interested?


The SHAKSPER Book Reviews has been fallow for sometime now through no one’s fault. There is a Book Review Panel and I am looking for anyone who might wish to take the initiative and revitalize it. If the person would be interested in a limited commitment that is fine, but someone is interested in a long-term commitment of more than a year, I would offer the position as an assistant editor.


SHAKSPER Roundtable Discussions: I found these very interesting at the time but they did involve a tremendous amount of work. Again, if anyone is interested either for a single Roundtable or to act as an assistant editor in charge of this area, pleases let me know. <>


New assistant professors or graduate students are obvious choices to volunteer for these tasks, but everyone is busy with one thing or another and SHAKSPER is probably not as “sexy” as other activities. I hope that I am wrong and these inquires will bring some new blood to SHAKSPER.


I appreciate greatly any thoughts or responses of the members.




Managing Director - Job Opening

The Shakespeare Conference: SHK 25.245  Saturday, 24 May 2014


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

Date:         May 24, 2014 at 11:14:35 AM EDT

Subject:    Managing Director - Job Opening


Dear Friends and Colleagues,


We are looking for a fantastic new Managing Director of Red Bull Theater.  


The job description is attached.  Please feel free to apply if it’s right for you or forward to anyone you know who might be interested.  



Jesse Berger

Artistic Director

Red Bull Theater

O: 212-343-7394 


Click to support more great classic stories Off-Broadway.


Job Description:  pdf  Red Bull Theater Manager


Garrick and Shakespeare

The Shakespeare Conference: SHK 25.242  Wednesday, 21 May 2014


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

Date:         May 20, 2014 at 5:38:33 PM EDT

Subject:    Garrick and Shakespeare


SHAKSPERians with access to London might be interested in the conference ‘Garrick and Shakespeare’ at Kingston University next month. The programme is as follows.


Gabriel Egan







JUNE 25-27 2014








Actor, manager, playwright, versifier, philosophical correspondent: David Garrick excelled in many parts, and was possibly both the most praised and vilified cultural figure of his age. Authors whose plays he rejected and performers he refused to employ were certainly not sparing in their attacks. ‘Garrick and Shakespeare’ will therefore not only focus on his achievements as a Shakespeare interpreter and impresario, but also re-examine Garrick’s controversial reputation, unprecedented celebrity status, and enduring influence as an arts administrator.





Wednesday June 25 2014 7pm

The Rose Theatre



Followed by a drinks reception


Thursday June 26 9.30am

The Rose Theatre


MICHAEL DOBSON (Shakespeare Institute, University of Birmingham)

‘The Memory of Garrick and the Dream of a National Theatre’


10-30am: Coffee





Subhajit Sen Gupta: ‘History Undone: Garrick’s Revision of Macbeth’


Varsha Panjwani: ‘Shakespeare and Garrick as Collaborators: The Two Noble Kinsmen and The Clandestine Marriage’


James Harriman-Smith: ‘”Why can I not see you act the terrible passages of this admirable tragedy!”: David Garrick and Jean-Francois Ducis’


1pm: Lunch Break





Ewan Fernie: ‘Garrick, Liberty, Germany’


Leslie Ritchie: ‘The Anonymous David Garrick’


Patricia Philippy: ‘The Poet in Stone: Garrick’s Temple and Southwark Cathedral’


Garrick’s Temple, Hampton

4.30pm: Tea

5pm: A Musical Entertainment

7.30pm: The Teddington Players: The Celebrated Mr Garrick


Friday June 27 9.30am


NORMA CLARKE (Kingston University)

‘All Grub Street was Preparing its Advice’


10.30am: Coffee





David Worrall: ‘Garrick and Noise: Auditorium Disturbances at Drury Lane’


Georgina Lock: 'Conversations with the Town: Garrick's Prologues, Epilogues and Afterpieces'


Melanie Bigold: 'Garrick’s Shakespeare Marginalia'


1pm: Lunch Break





Irene Morra: ‘Garrick, Shakespeare, and Opera’


Omaya Ibrahim Khalifa: ‘Adaptations of The Tempest and A Midsummer Night’s Dream: Garrick, AlQady and Ghazy’


Rob Gossedge: ‘Garrick’s Masque of King Arthur’


Will Summers: ‘Music, landscape, dance: Garrick’s role’


4pm: Tea




PETER HOLLAND (University of Notre Dame)

‘A Critic, A Gentleman, and Two Jubilees’



Conference Dinner:

Strada Restaurant, Kingston-upon-Thames


9.00pm: Film World Premiere:

The Rose Theatre

Miss in Her Teens starring Simon Callow


For further information and registration:

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

+44 (0)20 8417 9000 x 628


Closure of the Institute of English Studies

The Shakespeare Conference: SHK 25.241  Wednesday, 21 May 2014


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

Date:          May 20, 2014 at 4:48:43 PM EDT 

Subject:     Closure of the Institute of English Studies


Dear All


You may have heard about the proposed closure of the Institute of English Studies which is part of the School of Advanced Study at the University of London. The attached document gives a little more background. A Steering Group to oppose this has been set up, co-chaired by Professor Anne Varty (Head of the Department of English at Royal Holloway University of London) and Professor Gordon Campbell, DLitt, FBA (Professor of Renaissance Studies at Leicester University). The Steering Group (of which I am a member) has set up a website at in the form of a petition calling for this decision to be stopped. I am attaching a brief document that gives some further information on the subject and some links that may be of interest. We very much hope that you will be able to give us your support by signing the petition, by writing to the Vice-Chancellor and by passing this message on to interested parties.


Yours faithfully

Henry Woudhuysen


On behalf of the Save the IES Steering Group



Professor Anne Varty (Head of the Department of English Royal Holloway University of London)

Professor Gordon Campbell DLitt, FBA (Professor of Renaissance Studies, University of Leicester)



The Institute of English Studies and the University of London’s ‘Recommendation’


On Thursday, 15 May 2014, Professor Roger Kain, the Dean and Chief Executive of the School of Advanced Study at the University of London, announced ‘the University’s formal response to the news that HEFCE funding for SAS will be cut by 3% with effect from 2014–15’. This response had been decided on the previous day by the Vice-Chancellor’s Executive Group (VCEG) who recommended ‘a concentration of funding into a smaller number of institutes’. In effect, part of the academic activity of the Institute of English Studies (IES) will be merged with the Institute of Historical Research (IHR) to create a centre for Palaeography and the History of the Book; part will be merged with the Institute of Modern Languages Research (IMLR) to create a centre for Comparative Literature; and the Science and Music activity of the Institute of Musical Research (IMR) will be merged with the Institute of Philosophy’s Centre for the Study of the Senses. Although this document is concerned with the IES, the future of the IMR is also a matter of deep concern.


The VCEG is an administrative, non-academic body that reached its decision about the IES without consulting those involved in the Institute’s work or those representing English as a very large national and international subject community. The decision is sudden, arbitrary, and ill-thought out. Interviews for the post of the new Director of the IES had been scheduled for 7 May and were cancelled at the last minute.


The IES was founded in 1999 but dates back to the Centre for English Studies which was created in 1991. Part of the Institute’s mission is to ‘Promote advanced study and research in English Studies in the wider national and international academic community’. It has consistently fulfilled this aim: by organizing conferences (currently 25 each year) and seminar series (currently, around 40, with at least 6 sessions each year); by a non-stipendiary visiting fellowships programme (12 visitors a year); and by collaborations with some 60 organizations and societies. It also runs the T. S. Eliot International Summer School and the London Rare Books School and Palaeography Summer School. In the recent past, it has raised around £5m, and has been the home to major projects with partners such as the AHRC, the British Library, OUP, and Faber. The projects include: editions of Francis Bacon, John Ford, and T.S. Eliot; the Catalogue of English Literary Manuscripts, 1450-1700; digital projects relating to medieval MSS; The Irish Book in the 20th Century; the Reading Experience Database; The History of OUP; and other projects on writing, publishing and scholarly editing, including A Publishing and Communications History of the Ministry of Information, 1939-45. In addition, the IES established a pioneering MA in the History of the Book. The Institute’s work is clearly carried out at national and international levels.


If the VCEG’s recommendations are accepted, much of this activity will cease, not least its vital role in training younger scholars. What is proposed is a direct assault on the value and integrity of the Institute and of English studies as a discipline. Book History will not find its natural home in the IHR: in the UK, Historical Bibliography is a core discipline within English Studies. Nor will a Centre for Comparative Literature in the IMLR (which rightly has its own sense of that subject) accommodate the vast range of Research Seminar activity in English Language and Literature. Almost all of what has been most valuable in the IES’s work during the last quarter century or so will disappear.


Those who object to the recommendation can seek to stop or delay it: by writing to Professor Smith (This email address is being protected from spambots. You need JavaScript enabled to view it.) – a specimen form of words is available via the petition website; by raising the issue with their Universities, Faculties, and Departments and with subject groups and learned societies; by responding to Matthew Reisz’s article on the subject in the THE (; by using social media(#saveIES); and by signing a petition at .


News from The Globe Theatre

The Shakespeare Conference: SHK 25.239  Tuesday, 20 May 2014


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

Date:         Tuesday, May 20, 2014

Subject:    News from The Globe Theatre


Winter 2014/15 Season at Sam Wanamaker Playhouse


‘The extraordinary thing about the new indoor Jacobean theatre that is part of Shakespeare’s Globe, is that it feels as if it’s always been there and was just waiting to be uncovered.’ The Guardian


Earlier this year we opened the doors to our candlelit jewel box, the Sam Wanamaker Playhouse, and presented what was to be a triumphant first season. The beautiful space was filled with heart-warming visions of light and shadow, of stillness and silliness, mayhem and music from across centuries and continents.


Extreme love is at the heart of our new winter season while we also use the Playhouse to explore further the repertory beyond Shakespeare. The early theatre had a taste for psychological intensity, and these plays do not disappoint.


Those of you who have experienced the Playhouse already will know what an intoxicating cocktail of sensual pleasure awaits. For those who have not visited yet, we urge you to join us in this delightful space.


Opening the second Sam Wanamaker Playhouse season is the first of two plays by John Ford. ‘Tis Pity She’s a Whore enters challenging moral territory as the infamous tale of incestuous lust and obsessive revenge plays out with a disturbing lack of judgement.


Continuing John Ford’s exploration of the darkest recesses of the human psyche is The Broken Heart, a brilliantly nuanced story of an exalted love struggling to exist in a world of selfishness, jealousy and tawdry court politics. 


Completing the trio of Jacobean tragedies is Thomas Middleton & William Rowley’s furiously dramatic The Changeling in which beautiful Beatrice-Joanna tasks her repulsive servant to murder her fiancé, only for him to demand a reward. 


After delighting audiences and critics alike Adele Thomas’ hilariously uproarious depiction of Francis Beaumont’s The Knight of the Burning Pestle will play again. Pauline McLynn returns as the chattering Citizen’s Wife who, along with her husband continues to break the fourth wall as they demand their apprentice Rafe take the lead role in the play they have come to see. Combining salty colloquial prose with charming songs, The Knight of the Burning Pestle was one of the first madcap, mash-up, screwball comedies to hit the English stage and the first to run not one but two plays-within-the-play simultaneously.


The Globe’s ground-breaking collaboration with The Royal Opera L’Ormindo also returns to the Sam Wanamaker Playhouse. Audiences and critics were charmed by the intimate nature of the work, a rare opportunity to experience Baroque opera. Kasper Holten, Director of The Royal Opera, directs a production inspired by the theatrical conventions in London at the time, with music under the direction of Christian Curnyn, one of the most sought-after Baroque specialists of today.


The Sam Wanamaker Playhouse will host the world premiere of Claire van Kampen’s new play Farinelli and the King. Set in eighteen-century Spain and Italy, it tells the true story of Farinelli, the world’s most famous castrato, and his decision to trade fame and fortune for a live of servitude at the court of King Philip V. Replete with beautiful arias originally sung by Farinelli, this production promises to be a feast for the ears and eyes.


Trained by the Globe’s resident experts in the craft and performance of early modern drama, The Globe Young Players are a company of specially selected talented 12 to 16-year-olds. After a brilliantly accomplished debut with The Malcontent, they return for their second production- Christopher Marlowe’s Dido, Queen of Carthage. Marlowe’s first play, inspired by Virgil’s Aeneid is an intense tale of meddling gods, public duty and tragic love played out against the aftermath of the Trojan War. 





Caribbean writer Derek Walcott adapts his Nobel Prize-winning epic poem Omeros for performance in the unique Sam Wanamaker Playhouse. The poem spans both time and continents, following the journey of a present-day Odysseus and a beautiful house servant Helen, who incites her own Trojan War.


The narrative is rooted on the island of Saint Lucia, Walcott’s home, and will be underscored by live music to evoke the flavour of the Caribbean.


‘No poet rivals Mr. Walcott in humour, emotional depth, lavish inventiveness in language or in the ability to express the thoughts of his characters’
The New York Times Book Review



Globe in Cinemas


The Tempest



Prospero, Duke of Milan, usurped and exiled by his own brother, holds sway over an enchanted island. He is comforted by his daughter Miranda and served by his spirit Ariel and the deformed slave Caliban. When Prospero raises a storm to wreck this perfidious brother and his confederates on the island, his long contemplated revenge at last seems within reach.


Imbued with a spirit of magic and the supernatural, The Tempest is Shakespeare’s late great masterpiece of forgiveness, generosity and enlightenment.


Jeremy Herrin’s previous work for Shakespeare’s Globe includes 2011’s much loved Much Ado About Nothing.


Roger Allam won the Olivier Award for best actor for his role as Falstaff in Henry IV parts 1 & 2 at the Globe in 2010. Other recent credits include The Thick of It (BBC) and Tamara Drewe (Film).


Colin Morgan is best known for playing Merlin in the long running BBC series Merlin.


In UK cinemas from 28 May 2014.


Coming soon to North America, Australasia and Europe.


Director: Jeremy Herrin

Designer: Max Jones

Composer: Stephen Warbeck


Cast: Roger Allam, Jason Baughan, Jessie Buckley, Sam Cox, Pip Donaghy, Trevor Fox, Peter Hamilton Dyer, James Garnon, Joshua James, William Mannering, Colin Morgan, Matthew Raymond, Sarah Sweeney, Amanda Wilkin.


Running time: 169 mins inc. 15 min interval






When three witches tell Macbeth that he is destined to occupy the throne of Scotland, he and his wife choose to become the instruments of their fate and to kill the first man standing in their path, the virtuous King Duncan. But to maintain his position, Macbeth must keep on killing – first Banquo, his old comrade-in-arms; then, as the atmosphere of guilt and paranoia thickens, anyone who seems to threaten his tyrant’s crown.


From its mesmerising first moments to the last fulfilment of the witches’ prophecy, Shakespeare’s gripping account of the profoundest engagement with the forces of evil enthrals the imagination. 


In UK cinemas from 25 June 2014.


Coming soon to North America, Australasia and Europe.


Director: Eve Best

Designer: Mike Britton

Composer: Olly Fox


Cast: Moyo Akandé, Geoff Aymer, Bette Bourne, Stuart Bowman, Billy Boyd, Jonathan Chambers, Philip Cumbus, Gawn Grainger, Harry Hepple, Joseph Millson, Jess Murphy, Colin Ryan, Cat Simmons, Samantha Spiro, Finty Williams.


Running time: 155 mins inc. 15 min interval



A Midsummer Night’s Dream



Hermia loves Lysander and Helena loves Demetrius – but Demetrius is supposed to be marrying Hermia… When the Duke of Athens tries to enforce the marriage, the lovers take refuge in the woods and wander into the midst of a dispute between the king and queen of the fairies.


Shakespeare put some of his most dazzling dramatic poetry at the service of this teasing, glittering, hilarious and amazingly inventive play, whose seriousness is only fleetingly glimpsed beneath its dreamlike surface.


Michelle Terry won the 2011 Olivier Award for her portrayal of Sylvia in Tribes (Royal Court). Michelle returns to the Globe having previously played the Princess of France in Love’s Labour's Lost (2007).


In UK cinemas from 15 July 2014.


Coming soon to North America, Australasia and Europe.


Director: Dominic Dromgoole

Designer: Jonathan Fensom

Composer: Claire van Kampen


Cast: Huss Garbiya, Tala Gouveia, Tom Lawrence, John Light, Christopher Logan, Molly Logan, Sarah MacRae, Fergal McElherron, Edward Peel, Pearce Quigley, Stephanie Racine, Olivia Ross, Joshua Silver, Matthew Tennyson, Michelle Terry, Luke Thompson.


Running time: 182 mins inc. 15 min interval


Fiasco Theater’s The Two Gentlemen of Verona

The Shakespeare Conference: SHK 25.237  Thursday, 15 May 2014


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

Date:        Thursday, May 15, 2014

Subject:    Fiasco Theater’s The Two Gentlemen of Verona


Last night, I saw the amazing Fiasco Theater’s six-person version of The Two Gentlemen of Verona. Two Gents is not one of my favorite Shakespeares to say the least; in fact, it is right down there in the cellar with Taming of the Shrew and The Merchant of Venice as one of the few Shakespeare plays that I find nearly impossible to have a satisfactory experience with. However, Fiasco Theater pulled it off, milking every joke in the text and then some. As one would expect Crab stole the show. Instead of a “real” dog, Crab was played by a convincingly real Zachery Fine (AKA Valentine). As Crab, Fine’s expressions and actions reminded me of the loveable but mischievous dogs in the Saturday morning cartoons of my childhood. One of the funniest bits was when Lance (Andy Grotelueschen) commanded Crab to fetch a ball, or was it balls, from Speed (Paul L. Coffey)—delicacy forbids my describing this bit any further. Proteus was played by Noah Brody, one of the three founders and co-directors with Jessie Austrian (Julia) and Ben Steinfeld (who will appear in Cymbeline). To complete the company, Emily Young was a fine Sylvia and Lucetta. There was much music and song in a wholly enjoyable and satisfying production. I look forward to the company’s Cymbeline in a few weeks. 


[EMLS] New Issue Published

The Shakespeare Conference: SHK 25.235  Thursday, 15 May 2014


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

Date:         May 15, 2014 at 3:33:23 PM EDT

Subject:    [EMLS] New Issue Published


Dear readers and contributors,


Early Modern Literary Studies has just published its latest issue at We invite you to review the Table of Contents here and then visit our web site to review articles and items of interest.


Thanks for the continuing interest in our work,


Dr Andrew Duxfield (on behalf of the EMLS editorial team)

Sheffield Hallam University

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


Early Modern Literary Studies

Vol 17, No 1 (2014)

Table of Contents




Heywood, Henslowe and Hercules: Tracking 1 and 2 Hercules in Heywood’s Silver and Brazen Ages

Douglas Arrell


Turning the Tables on Bacon: Computer-Assisted Baconian Philology

Peter Pesic


Milton’s Image of the Tartar: ‘Global Leviathan’ vs. ‘Global Commonwealth’

Joy Lu


Milton's  Aevum : The Time Structure of Grace in  Paradise Lost

Ayelet Langer





‘Mr Pett’ Identified? A Forgotten Early Modern Playwright

Matteo Pangallo



Book Reviews


Philippa Kelly, The King and I  (London: Bloomsbury, 2011)

Steve Mentz


Tim Fitzpatrick, Playwright, Space and Place in Early Modern Performance: Shakespeare and Company  (Farnham: Ashgate, 2011)

Alison Searle


David Loewenstein and Paul Stevens, eds, Early Modern Nationalism and Milton’s England  (Toronto: University of Toronto Press, 2008)

Christopher Ivic


Sean Lawrence, Forgiving the Gift: The Philosophy of Generosity in Shakespeare and Marlowe  (Pittsburgh: Duquesne University Press, 2012)

Holly Faith Nelson


Tom MacFaul, Poetry and Paternity in Renaissance England: Sidney, Spenser, Shakespeare, Donne and Jonson  (Cambridge: Cambridge University Press,


Erin A. McCarthy


Chris Stamatakis, Sir Thomas Wyatt and the Rhetoric of Rewriting: ‘Turning the Word’  (Oxford: Oxford University Press, 2012)

Patrick Hart


Frances Cruickshank, Verse and Poetics in George Herbert and John Donne (Farnham: Ashgate, 2010)

Joel Swann



Theatre Reviews


King LearThe Taming of the ShrewA Midsummer Night's Dream, and Cymbeline , presented by the Oregon Shakespeare Festival, February-November 2013

Geoff Ridden


Twelfth Night presented by Propeller at the Hampstead Theatre, July 2, 2013

Bill Gelber


Othello, presented by the Royal National Theatre at the Olivier Theatre, July 4, 2013

Bill Gelber


Coriolanus, presented by the Shakespeare Theatre Company at Sidney Harmon Hall, Washington, DC, March 28 - June 2, 2013

Noel Sloboda


The Duchess of Malfi, presented by Eyestrings Theatre at the Gulbenkian Theatre, Canterbury (touring), 9th October 2013

Thomas Larque



Books received


Books Received

Andrew Duxfield


Early Modern Literary Studies

Register as an Auditor for the Sixteenth British Graduate Shakespeare Conference

The Shakespeare Conference: SHK 25.234  Wednesday, 14 May 2014


From:        British Graduate Shakespeare Conference <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         May 14, 2014 at 7:02:52 AM EDT

Subject:    Register as an Auditor for the Sixteenth British Graduate Shakespeare Conference


On behalf of the committee for the British Graduate Shakespeare Conference, I would like to warmly invite you to attend our Sixteenth Conference as an Auditor this summer on the 5th-7th June. 


Registration closes on the 23rd May—to avoid paying a late fee, make sure you register before this date! 


Please find all the information you need below, I look forward to welcoming you this June to this fantastic conference at The Shakespeare Institute. 


Best wishes,

Charlotte Horobin

Publicity PR. 

British Graduate Shakespeare Conference



Sixteenth Annual British Graduate Shakespeare Conference

5th – 7th June 2014

The Shakespeare Institute, University of Birmingham


We invite Graduate students with interests in Shakespeare and Renaissance Studies to join us in June for the Sixteenth Annual British Graduate Shakespeare Conference.


This interdisciplinary conference, celebrating its sixteenth anniversary in 2014, provides a friendly and stimulating academic forum in which Graduate students from all over the world can present their research and meet together in an active centre of Shakespeare scholarship in Shakespeare’s home town of Stratford-upon-Avon. Undergraduate students in their final two years of study are also invited to attend the conference as auditors.


The conference will feature talks by David Crystal (University of Wales, Bangor), Richard Buckley (University of Leicester Archaeological Services), Ewan Fernie (Shakespeare Institute), Tony Howard (University of Warwick), Grace Ioppolo (University of Reading), Simon Palfrey (University of Oxford), and Anna Marsland from the RSC. A round table discussion about Shakespeare’s collaborative plays will be led by Peter Kirwan (University of Nottingham) and Will Sharpe (University of Birmingham).


Delegates will also have the opportunity to attend two RSC productions: Henry IV Part II, directed by Gregory Doran, and starring Antony Sher as Falstaff, and The Roaring Girl, part of the Roaring Girls season, both at a group-booking price. Lunch will be provided on each day, and we will be hosting a party and a reception  for the delegates.


The deadline for registering as auditors is Friday 23rd May 2014. You can still make a payment after this date, as late as on the door upon arrival at the Shakespeare Institute BUT any kind of transaction carried out after 23 MAY will be automatically qualified as Late Fee and no concessions apply. 


The cost of this year’s conference is £55 for all three days, or £20 per day.



Shakespeare Institute student: £45 for all three days or £15 per day.

Shakespeare Institute alumni: £50 for all three days or £17.50 per day.

UoB College of Arts and Law undergraduate student: £50 for all three days or £17.50 per day.

 The late registration fee is £70 for all three days or £25 per day. Concessions do not apply.

For more information on the conference and registration, visit: or


Find us on Facebook and on Twitter, Email: This email address is being protected from spambots. You need JavaScript enabled to view it.



The Sixteenth British Graduate Shakespeare Conference

5-7 June 2014

The Shakespeare Institute

Mason Croft, Church Street


CV37 6HP



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T: @britgrad



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