The Shakespeare Conference: SHK 23.188 Tuesday, 15 May 2012
From: Helen M Ostovich <
Date: May 14, 2012 2:19:10 PM EDT
Subject: Early Theatre 15.1 (June 2012)
Early Theatre 15.1 (2012)
Special Issue: Access and Contestation: Women’s Performance in Early Modern England, Italy, France, and Spain
Guest Editor: Peter Parolin
Access and Contestation: Women’s Performance in Early Modern England, Italy, France, and Spain
Women and Performance in Medieval and Early Modern Suffolk
‘If I had begun to dance’: Women’s Performance in Kemps Nine Daies Wonder
Peter Parolin 47
‘In the Sight of All’: Queen Elizabeth and the Dance of Diplomacy
Between Courts: Female Masquers and Anglo-Spanish Diplomacy, 1603–5
Mark Hutchings and Berta Cano-Echevarría
Marie de Medici’s 1605 ballet de la reine: New Evidence and Analysis
Melinda J. Gough
‘Cattle of this colour’: Boying the Diva in As You Like It
Pamela Allen Brown
The Spanish Actress’s Art: Improvisation, Transvestism, and Disruption in Tirso’s El vergonzoso en palacio
Amy L. Tigner
Conniving Women and Superannuated Coquettes: Travestis and Caractères in the Early Modern French Theatre
Melissa Croteau and Carolyn Jess-Cooke (eds). Apocalyptic Shakespeare: Essays on Visions of Chaos and Revelation in Recent Film Adaptations. Jefferson, NC and London: McFarland, 2009.
Reviewed by Catherine Silverstone
Jane Hwang Degenhardt and Elizabeth Williamson (eds). Religion and Drama in Early Modern England: The Performance of Religion on the Renaissance Stage. Aldershot and Burlington: Ashgate, 2011.
Reviewed by Erin E. Kelly
Eugene Giddens. How to Read a Shakespearean Play Text. Cambridge: Cambridge University Press, 2011.
Reviewed by Brett D. Hirsch
Max Harris. Sacred Folly: A New History of the Feast of Fools. Ithaca and London: Cornell University Press, 2011.
Reviewed by Abigail Ann Young
Natasha Korda. Labors Lost: Women’s Work and the Early Modern English Stage. Philadelphia: University of Pennsylvania Press, 2011.
Reviewed by Susan C. Frye
Robert Mullally. The Carole: A Study of a Medieval Dance. Aldershot and Burlington: Ashgate, 2011.
Reviewed by Emily F. Winerock
Kristen Poole. Supernatural Environments in Shakespeare’s England: Spaces of Demonism, Divinity, and Drama. Cambridge: Cambridge University Press, 2011.
Reviewed by Ian McAdam
Federico Schneider. Pastoral Drama and Healing in Early Modern Italy. Aldershot and Burlington: Ashgate, 2010.
Reviewed by Alexandra Coller 244
Virginia Scott. Women on the Stage in Early Modern France, 1540–1750. Cambridge: Cambridge University Press, 2010.
Reviewed by Claire Sponsler 247
The Shakespeare Conference: SHK 23.185 Thursday, 10 May 2012
From: Annalisa Castaldo <
Date: May 9, 2012 8:28:24 AM EDT
Subject: CFP MAPACA
Call for Papers MAPACA 2012
November 3-5, 2012
The wealth of material found in the Middle Ages and Renaissance continues to attract modern audiences in the form of with new creative works in areas such as fiction, film, and computer games, which make use of medieval and/or early modern themes, characters, or plots. This is a call for papers or panels dealing with any aspect of medieval or Renaissance representation in popular culture. Topics for this area include, but are not limited to the following:
-Modern portrayals of any aspect of Arthurian legends or Shakespeare
-Modern versions or adaptations of any other Medieval or Renaissance writer
-Modern investigations of historical figures such as Eleanor of Aquitaine, The Richards, Henry VIII, Elizabeth I, Mary Queen of Scotts
-Teaching medieval and renaissance texts to modern students
-Medieval or Renaissance links to fantasy fiction, gaming, comics, video games, etc.
Medieval or Renaissance Dramas
-The Middle Ages or Renaissance on the Internet
Panel and Workshop proposals are also welcome.
Submit a 250 word proposal including A/V requests along with a CV or brief bio by June 15, 2012 to:
Chesapeake Shakespeare Company News
The Shakespeare Conference: SHK 23.184 Thursday, 10 May 2012
From: Kevin Costa <
Date: May 7, 2012 8:01:49 PM EDT
Subject: Big News from Chesapeake Shakespeare
CHESAPEAKE SHAKESPEARE COMPANY EXPANDS INTO DOWNTOWN BALTIMORE
Classical theater acquires second home in historic Mercantile Building to host indoor performances
BALTIMORE (May 7, 2012) — Howard County–based Chesapeake Shakespeare Company today announces the acquisition of the historic Mercantile Trust and Deposit Company building in downtown Baltimore, which will serve as its second home and establish a new cultural center for live performances of Shakespeare and other classics just two blocks from the city’s celebrated Inner Harbor.
Located at 200 East Redwood Street, the Mercantile Trust and Deposit Company building was constructed in 1885 and is one of Baltimore’s more notable architectural landmarks. Chesapeake Shakespeare Company has plans to convert the building’s interior into an intimate 250-seat theater for indoor performances, educational programs, and community events.
“Chesapeake Shakespeare Company is in its 10th season serving almost 12,000 people every year,” says Ian Gallanar, founding artistic director. “We are thrilled about our expansion into the thriving Baltimore theater scene. While we will continue to serve our current patrons with outdoor performances at our home stage in Howard County, this second location will broaden our reach and help foster a new community of classical theater enthusiasts.”
The Mercantile Trust and Deposit Company building was purchased for the sole use of Chesapeake Shakespeare Company by the Helm Foundation, an organization directed by Scott Helm, one of the trustees of the Chesapeake Shakespeare Company. The total cost of the project, including the building’s purchase and renovation, is estimated to be around $6 million.
Cho Benn Holback + Associates, Inc.—the architecture firm responsible for the Everyman Theatre, the James Rouse Center in the Visionary Arts Museum and the Creative Alliance at The Patterson Theater—is working with Chesapeake Shakespeare Company on design plans that model the new indoor theater after Shakespeare’s famous Globe Theatre in London. The design combines the intimacy of a traditional Elizabethan playhouse with a contemporary sense of design and convenience. Renovations will begin in early 2013, with the expectation of opening in 2014.
“The building’s substantial mezzanine, elaborate and colorful carved ceiling, and Corinthian columns all echo elements of Elizabethan theaters,” says Lesley Malin, managing director of the Chesapeake Shakespeare Company. “We are enthusiastic about working with Cho Benn Holback to incorporate these beautiful architectural features into a modern-day Globe in downtown Baltimore.”
The acquisition of the Mercantile Building will be key in Chesapeake Shakespeare Company’s effort to create a downtown “theater triangle” that will connect the new Inner Harbor theater with the Hippodrome and the Everyman Theatre on the West Side, and Mount Vernon’s CenterStage.
“I am very excited that the Chesapeake Shakespeare Company is choosing Baltimore for its indoor home,” Mayor Stephanie Rawlings-Blake says. “This is a welcome cultural asset that strengthens downtown as a growing and vibrant neighborhood. I look forward to seeing the first show.”
Chesapeake Shakespeare Company will add an eight-month season of shows at the downtown location and provide after-school and weekend programs for the students of Baltimore. The company has plans to run additional special events including an international theater festival that will bring classical theater companies from around the world to Baltimore.
“We couldn’t be more excited about Chesapeake Shakespeare’s arrival into Downtown Baltimore,” says Kirby Fowler, President of the Downtown Partnership of Baltimore. “Their plans for adaptive reuse are perfect for this building, one of Downtown’s greatest historic structures. After 130 years, it’s as if this building is finally becoming what it was meant to be. The new theater will be located in the heart of the City’s fastest growing neighborhood, where it will quickly become a cultural destination for our many residents, employees, and visitors.”
Chesapeake Shakespeare Company:
Chesapeake Shakespeare Company, the Baltimore area’s third largest theater company, was founded in 2002 with a mission to create innovative performance and education programs that bring the works of William Shakespeare and other classics to life. It is a member of the Theatre Communications Group, the organization for professional theaters in the United States and the Shakespeare Theatre Association, the international organization for professional Shakespeare theaters. Chesapeake Shakespeare Company is committed to making the arts more accessible to the community by intensifying the connection between audiences and artists and some of the greatest works of theater ever written.
The Mercantile Trust and Deposit Company Building:
The Mercantile Trust and Deposit Company building is on the National Register of Historic Places; it was built in 1885, was one of only a few buildings to survive the Great Fire of 1904, and served as a bank until 1993. It is considered a major architectural landmark and Baltimore's paramount example of Romanesque Revival architecture featuring rust-colored brick walls, slate roof, and massive Roman arches constructed of locally quarried stone, much of which is finely carved. In 2001, it went through a $2.2 million renovation and since then has been occupied by a number of night clubs. The current tenant, Club Dubai, will remain until the end of its lease at the end of 2012.
[Editor’s Note: There was recently a story about the move in the Baltimore Sun: http://www.baltimoresun.com/entertainment/arts/bs-ae-chesapeake-shakespeare-20120507,0,3699959.story --Hardy]
Patrick Stewart joins Red Bull Theater’s RUNNING OF THE RED BULLS
The Shakespeare Conference: SHK 23.180 Monday, 7 May 2012
From: Red Bull Theater <
Date: April 30, 2012 11:18:07 AM EDT
Subject: Patrick Stewart joins Red Bull Theater’s RUNNING OF THE RED BULLS - Monday, June 4th
Monday June 4
RED BULL THEATER,
Jesse Berger, Artistic Director, and the Board of Directors of Red Bull Theater, are pleased to invite you to the fourth annual RUNNING OF THE RED BULLS BENEFIT honoring
SIR PATRICK STEWART
The Matador Award for Excellence in Classical Theater
plus Matador Awards to
Extraordinary Talent for Classical Theater
THE SHAKESPEARE SOCIETY
Extraordinary Service to Classical Theater
Join Host Paige Davis and Special Guests Emily Bergl, Richard Easton, Christopher Innvar, Patrick Page, Stephen Spinella, Michael Urie, Marc Vietor and More for an evening of live entertainment, tantalizingly fabulous silent auction items, fine dining catered by Gemma, and great company at the chic and luxurious Bowery Hotel. Celebrate Red Bull Theater, honor super contributors to classical theater, and be the first to hear about our 2012-2013 Season.
Monday, June 4th
6pm Cocktails & Silent Auction
7pm Dinner & Award Ceremony
9pm Bullseye Bash After-Party
The Bowery Hotel
335 Bowery - Corner of East 3rd Street & Bowery
After-Party Available Separately
Click Bullseye Bash to join us at 9pm for Drinks and Dancing.
HONORARY BENEFIT COMMITTEE
F. Murray Abraham, Michael Cerveris, Paige Davis, Richard Easton, Michael Emerson, Christopher Innvar, Amy Irving, Jan Maxwell, Jack O’Brien, Patrick Page, Lily Rabe, Roger Rees, J. Smith-Cameron, Stephen Spinella, Michael Stuhlbarg, John Douglas Thompson, Michael Urie, Dianne Wiest, Charlayne Woodard
Subterranean Shakespeare—FOLKSPEARE Press release
The Shakespeare Conference: SHK 23.179 Monday, 7 May 2012
From: Geoff Pond <
Date: April 29, 2012 2:24:49 AM EDT
Subject: Subterranean Shakespeare—FOLKSPEARE Press release
SUBTERRANEAN SHAKESPEARE THEATER - SUB SHAKES RECORDS - THE RUDE MECHANICALS BAND
Press release April 23, 2012
SHAKESPEARE IN A NUTSHELL (a CD)
Written by JUNE LEVINE
Performed by THE RUDE MECHANICALS BAND
When songwriter June Levine was four years old her parents read aloud Lamb’s “Tales from Shakespeare”. Innocently she began making attempts to create songs about the plays. Her parents were so shocked they immediately taught her to read. Cut to April 1962 June now thirty years old, loved folk music. She decided to write some folk songs based on the plays of Shakespeare. The first song was Julius Caesar. As the years went by she continued to write more songs and along the way she received a degree in 18th Century English literature. In 2001 she and her husband Gene Gordon who also is a great lover of The Bard started The Rossmoor Shakespeare Society. In 2010 they attended a staged reading presented by Subterranean Shakespeare as a part of a festival of the whole Shakespeare canon. She purchased a copy of Sub Shakes CD SHAKESPEARE’S GREATEST HITS www.cdbaby.com/cd/shakespeareshits/from/viglink She liked it so much she bought twelve more copies to give out to members of the Shakespeare Society. She also commissioned Geoffrey Pond (artistic director for Sub Shakes) to produce a CD based on her song book Folkspeare, now at twenty two songs. Featuring Sub Shakes house band THE RUDE MECHANICALS. After over two years in the studio, on Shakespeare's birthday April 23, 2012 the CDFOLKSPEARE: SHAKSPEARE IN A NUTSHELL was released. Fifty years to the month after she had first written Julius Caesar. Subterranean Shakespeare Theater is so proud of the effort that they are now in a workshop directed by Geoffrey Pond in preparation to bring many of the songs to the stage in a musical revue called SHAKESPEARE! THE MUSICAL. To be presented in a theater tbd in San Francisco late 2012 or early 2013. The Rude Mechanicals are Lori Higa, Kevin Moore, Geoffrey Pond, Cindy Weyuker.
For more info and to send your snail male address if you want a copy of the Folkspeare CD for a review
or call 510-276-3871
Info on how to purchase a copy of Folkspeare www.folkspeare.com/page2.php
To listen to parts of the songs, purchase or download www.cdbaby.com/cd/therudemechanicals
The Shakespeare Conference: SHK 23.178 Monday, 7 May 2012
From: British Shakespeare Association <
Date: April 30, 2012 6:16:39 AM EDT
Subject: Year of Shakespeare
We’d like to invite you to visit our new interactive website, which launched last week: www . yearofshakespeare . com.
As some of you may know, this summer the UK is staging a six-month celebration of Shakespeare called the World Shakespeare Festival. Produced by the Royal Shakespeare Company, developed by major institutional partners such as Shakespeare’s Globe and the British Museum, and funded through public and private initiatives related to the 2012 Cultural Olympiad, the WSF announces itself as ‘a celebration of Shakespeare as the world’s playwright’ and brings together work from over 50 arts organizations from across the globe.
In an attempt to document and discuss the performances and ideas emerging from the WSF, the Shakespeare Institute, the University of Warwick, and The Shakespeare Birthplace Trust have created www . yearofshakespeare . com, which is an interactive, digital project that will include reviews of each of the productions; special features from academics, artists, and educators involved in the festivities; and space for interested readers from across the world to comment on and discuss ideas arising from the WSF. The central aims of our project, which is funded by the UK’s Arts and Humanities Research Council, are to open up debate about the role of Shakespeare in global culture and to broaden the discussion about what constitutes a ‘successful’ intercultural performance.
We’d like to invite you to participate in our project by visiting www . yearofshakespeare . com and reading more about what’s happening in the WSF and what our team of researchers is making of it. You’ll already find reviews of the Globe’s South African Venus and Adonis, Russian Measure for Measure, and Kenyan Merry Wives, as well as the RSC's Comedy of Errors and Tempest. New reviews are coming in almost everyday, so it's worth checking in frequently.
We’d also like to invite you to contribute some of your own thoughts about global Shakespeare, whether in response to a WSF performance you’ve seen or more broadly in response to some of the issues arising in the discussion forum and on Twitter (#WSF2012 and #G2G). There’s space following every review for comments and discussion, so please do get involved! The project aims to gather thoughts from those outside of the UK as well as inside it, so please let us know what you think about the idea of a Hip Hop Othello, of Romeo and Juliet in Baghdad, or a Shakespeare-inspired Aztec history cycle.
Finally, please also share our website with any friends, colleagues, students, or listserv members that you think might also be interested – as mentioned, we’re aiming for as broad a discussion as possible, so all opinions and perspectives are heartily welcomed!
Looking forward to continuing the discussion online…
All the best,
Erin Sullivan, Paul Prescott, and Paul Edmondson (Project Leaders)
Early Modern Women Journal Move
The Shakespeare Conference: SHK 23.173 Friday, 27 April 2012
From: Early Modern Women Journal <
Date: April 25, 2012 3:10:43 PM EDT
Subject: Early Modern Women Journal Move
As of June 1, 2011, the editorial offices for the Early Modern Women Journal have moved to University of Miami, and subscription management has moved to Arizona State University.
Mihoko Suzuki, Professor of English and Director of the Center for the Humanities, Anne Cruz, Professor of Spanish, and Mary Lindemann, Professor of History, all of the University of Miami, Coral Gables will assume editorship of the Journal, beginning June 1, 2011.
All submissions should now be sent to:
Director, Center for the Humanities
PO BOX 248292
University of Miami
Coral Gables, FL 33124
305-284-5623, 1557 (office)
Visit the new journal website: http://humanities.miami.edu/publications/
Arizona Center for Medieval and Renaissance Studies has taken over publication of the annual Early Modern Women: An Interdisciplinary Journal. ACMRS has now assumed all managing editing responsibilities including subscription records and bookkeeping.
For subscription inquiries, please contact:
William Gentrup, PhD
ACMRS (Arizona Center for Medieval and Renaissance Studies)
Arizona State University
Tempe, AZ 85287-4402
Ph: 480-965-4661 | Fax: 480-965-1681 | Email:
Chesapeake Shakespeare Company
The Shakespeare Conference: SHK 23.172 Friday, 27 April 2012
From: Hardy Cook <editor@shaksper,net>
Date: April 25, 2012 4:42:44 PM EDT
Subject: CSC’s Most Romantic Summer
Chesapeake Shakespeare Company
It’s another fun-filled, romantic summer of classics! This year, we’re producing what may be Shakespeare's most famous play—Romeo and Juliet. The production will combine a Renaissance world with modern performance poetry to create a unique theatrical experience, directed by CSC’s Jenny Leopold. In addition, CSC offers a sparkling version of Jane Austen's witty and beloved romance, Pride and Prejudice directed by international theatre artist Isabelle Anderson. Tickets are on sale now, and remember, kids 18 and under are admitted free when accompanied by an adult.
THE SUMMER OPENS JUNE 8TH!
Come see your favorite or come see both (two show package is only $54). Bring your kids on family-friendly Sundays or bring a date for a romantic evening on Fun Formal Fridays or come on any day for a great evening of outdoor theater from Maryland’s leading classics theater.
Chesapeake Shakespeare Company-in-the-Ruins is not your typical theater experience. We promise NEVER to tell you not to unwrap your candies during the show! Instead, we think of your experience at the Ruins as a theater party. You can rent an intimate table for two or reserve a whole picnic table for a big group—as long as you make it fun.
Bring a picnic and enjoy the beautiful park, bring your kids or friends, bring a bottle of wine. We open the gates 90 minutes before show-time for this purpose and so that you can watch The Show Before the Show which will feature musicians, poets, dress-up stations, and 1800s games. This year, due to popular demand, we've added more talk-back sessions before and after the show—we call them CSC: Extended Versions. We’ve also got a special weekend devoted to Poetry Out Loud and another to Jane Austen.
People from all over the Baltimore-Washington region along with northern Virginians and southern Pennsylvanians are making Chesapeake Shakespeare in the Ruins a yearly tradition. We hope you will too!
Romeo and Juliet
Pride & Prejudice
June 8 - July 29, 2012
Thursdays, Fridays and Saturdays at 8 p.m.
Sundays at 6 p.m.
Special Thursday Adult Rate: $29
Special rate for students under 25 for Thursdays and Fridays: $15
Children 18 and under: FREE (limit two per paying adult)
Two Show Package: $54 (pre-orders only)
Friday Tables For Two: $30; Picnic Tables: $60
Group Tickets: 410-313-8661
All ticket service fees are included in price
Extended version dates to come
Poetry Out Loud Weekend June 15-18
Jane Austen Weekend June 22-24
Performances held outdoors at the
Patapsco Female Institute Historic Park
overlooking Historic Ellicott City
Whedon’s Much Ado About Nothing
I, Iago by Nicole Galland
The Shakespeare Conference: SHK 23.170 Friday, 27 April 2012
From: Kennedy, Kaitlyn <
Date: April 24, 2012 9:48:40 AM EDT
Subject: I, Iago by Nicole Galland
I, IAGO (William Morrow Paperback Original; 978-0062026873; $14.99; April 24, 2012) is a retelling of Shakespeare’s classic Othello and features literature’s most infamous villain: Iago. But despite Iago’s leading role and almost incessant chatter throughout the play, he becomes suddenly silent near the end leaving generations guessing as to why he committed such heinous crimes. Now just in time for Shakespeare’s birthday, Nicole Galland’s meticulously researched reveals the true motivations behind the character whose name has become synonymous with evil.
Iago’s childhood days are filled with mischief and adventures as he navigates a magical Venice with his naive best friend and partner-in-crime Roderigo. But in a world where duplicity is revered, Iago quickly earns the insulting nickname “honest Iago.” When his father forces Iago to enroll in the military, his life is changed—his friendship with Roderigo dissolves and he meets and falls hopelessly in love with the witty and charming Emilia during Carnivale.
A successful young soldier and adoring husband to Emilia, Iago’s desire to rise in rank and good regard under the command of General Othello informs his actions and begins to cloud his thinking. Gradually, Galland introduces all of the celebrated characters Shakespeare lovers know well—from Roderigo and Othello to Desdemona and Cassio—and in a fascinating manner, we learn about Iago’s intricate relationships and dynamics with each of them. Nicole says, “When creating the characters in I, IAGO, I relied on information in the original Othello text. Although the play appears to be about innocent people being tragically duped and destroyed by the villain, a closer look reveals that there are few real innocents in this story.”
Historical fiction at its finest, I, IAGO proves to be the perfect blend of romance, humor, power, irony, and ultimately, betrayal.