Call for Papers – Journal of the Wooden O

The Shakespeare Conference: SHK 29.0263  Tuesday, 31 July 2018


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

Date:        July 30, 2018 at 4:14 PM EDT

Subject:    Call for Papers – Journal of the Wooden O


The Journal of the Wooden O is a peer-reviewed, academic publication focusing on all things Shakespeare. It is published annually by Southern Utah University Press in cooperation with the SUU Center for Shakespeare Studies and the Utah Shakespeare Festival.


The editors invite papers on any topic related to Shakespeare, including Shakespearean texts, Shakespeare in performance, the adaptation of Shakespeare works (film, fiction, and visual and performing arts), Elizabethan and Jacobean culture and history, and Shakespeare’s contemporaries.


Articles published in the JWO are indexed in the MLA International Bibliography and appear full-text in EBSCO Academic Search Premiere

Selected papers from the annual Wooden O Symposium are also considered for publication.


SUBMISSIONS: Manuscripts should follow the Chicago Manual of Style. The deadline for submission is October 15, 2018. Authors should include all of the following information with their submission:

•     Author's name
•     Mailing address
•     College/university affiliation (if any)
•     Academic rank (faculty, graduate student, undergraduate student, aficionado) 
•     E-mail address
•     Daytime phone number. 

Submit electronic copy to: This email address is being protected from spambots. You need JavaScript enabled to view it. (Only .doc, .docx or .rtf files will be accepted.)


For more information:

Journal of the Wooden O

c/o Southern Utah University Press

351 W. University Blvd. 

Cedar City, Utah 84720

Ph. 435-586-1955

Fax 435-865-8152

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


Announcement – BSF King John Performance

The Shakespeare Conference: SHK 29.0262  Monday, 30 July 2018


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

Date:        July 30, 2018 at 9:27 AM EDT

Subject:   Announcement – BSF King John Performance


I drove down to Baltimore yesterday afternoon to see the BSF King John. Excellent, even surprisingly excellent. They do five or six plays a year, and, if this is representative of their quality, it is well worth while to go to Baltimore to attend them.


Plays are presented in a more or less deconsecrated church, with poor acoustics, which they are working on. Interesting neighborhood. Seating in pews with good cushions. Quite comfortable. Raised stage, raised pews on sides, all good sight lines.  


Very good all professional cast. Innovative staging that repeatedly involves members of the audience. And walking into the audience. Slightly uncomfortable with agitated characters walking around in the audience. An actor was gesticulating with a real-looking knife far too close to my head and neck for me to be completely comfortable.  


The audience was tiny, only 21 people. Perhaps that was due to a Sunday afternoon in late July, the first sunny day in more than a week. Tickets are very reasonable.  


I will go back! And I recommend that other people within a comfortable ride of North Baltimore look at their web site. 




Christy Desmet

The Shakespeare Conference: SHK 29.0260  Thursday, 26 July 2018


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

Date:         July 26, 2018 at 10:03 AM EDT

Subject:    Christy Desmet


I just learned on Facebook from Alexa Joubin that my dear friend Christy Desmet has died: 


My dear friend, mentor and guardian angel Christy has just passed away all of a sudden. She has been a close friend with a big heart and a beacon of light in the often hostile, academic world. She took me under her wings when I was a fledgling student, and in times both joyful and difficult. She gave me the gift of hope. The devastating news reached me in the midst of a conference in Stratford-upon-Avon. I could not stop crying and had to step outside. I cannot even begin to imagine the loss and pain of her family and dear Plum. So, so sudden. Time is frozen. We'll all have to dry our tears and try to celebrate, instead of mourn, her beautiful life. I can only aspire to have her grace, resilience, wisdom, and smiles against all odds one day.


I was introduced to Christy by another dear friend Bernice Kliman soon after my mid-20s younger daughter had been born. 


You will be missed.




Christy Desmet



Josiah Meigs Distinguished Teaching Professor

Director of FYC/UGA Writing Center

Co-General Editor, Borrowers and Lenders

Associate Editor, Int'l Journal of ePortfolio

Josiah Meigs Distinguished Teaching Professor of English and Director of the First-year Composition Program/UGA Writing Center. Reading Shakespeare's Characters: Rhetoric, Ethics, and Identity was published in 1992 by the University of Massachusetts Press and reprinted as an electronic book by netLibrary in 2000. I am also the co-editor (with Robert Sawyer) of Shakespeare and Appropriation (Routledge, 1999) and of Harold Bloom's Shakespeare (Palgrave, 2001). With Anne Williams, I have edited Shakespearean Gothic (2009). Helen Faucit appeared in 2011. With Sujata Iyengar, I am co-founder and co-general editor of Borrowers and Lenders: The Journal of Shakespeare and Appropriation, which can be found at



Ph.D. University of California at Los Angeles (1984)


Research Interests:

My research interests include Shakespeare and New Media/Web 2.0; the rhetoric of reading and writing English history; theory, practice, and assessment of ePortfolios; teaching Shakespeare; and teaching writing and literature in digital contexts. I teach in two areas: Renaissance or early modern Literature and Rhetoric and Composition.


Selected Publications:

My most recent books are Shakespearean Gothic, co-edited with Anne Williams and published in 2009 by the University of Wales Press and Helen Faucit (London: Pickering & Chatto, 2011). I have also co-edited a collection of essays, Shakespeare/Not Shakespeare (with Natalie Loper and Jim Casey), that is forthcoming from Palgrave in 2017. Two other projects are currently in process: an edition of Kenneth Burke's music criticism, with David Schiller; and a co-edited essay collection, with Sujata Iyengar and Miriam Jacobson, entitled The Routledge Handbook to Shakespeare and Global Appropriation.


Of note:

Residential Scholar, Folger Shakespeare Library Teaching Shakespeare Institute, 2014 and 2016

Fulbright Distinguished Lectureship in Humanities, Underwood International College, Yonsei University, Seoul, Korea (2014, awarded for March 1-July 1, 2015)

First-year Composition Program, University System of Georgia Regents' Teaching Excellence Award for Departments and Programs, 2012

Josiah Meigs Distinguished Professor of English, University of Georgia

Senior Teaching Fellow, University of Georgia, 2003-2004

Teaching Academy, University of Georgia, 2001–present

Sandy Beaver Excellence in Teaching Award, University of Georgia, 1996

Richard B. Russell Undergraduate Teaching Award, University of Georgia, 1993

Lilly Teaching Fellowship, University of Georgia, 1985



Supporting Literacy for Diverse Learners through the School Library, Improving Teacher Quality Grant, Nancy Knapp, PI (2013-16)

Co-investigator and Senior Faculty Lead. Collaborative Development of Adaptive Courses Using Next-Generation Learning Technology. Association of Public and Land-grant Universities, 2015

Digital Barn Raising for a Peer Review Platform. Innovative Instruction Grant, University of Georgia (with Sara Steger and Ron Balthazor), 2013


Personal Website:

Announcement - Edna Boris

The Shakespeare Conference: SHK 29.0254  Monday, 16 July 2018


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

Date:        July 14, 2018 at 6:06 AM EDT

Subject:    Announcement - Edna Boris



Dear Friends,

Edna suffered a massive and unexpected coronary on 4 July, cutting short the vibrant energy she brought to the world and shared with us during her 75 years of life. Her own words described the life she had lead as good and happy. Her passing was peaceful and easy.

There will be a celebration of her life 6 September at The Roosevelt House, Hunter College in New York City. Specific details will follow, but please mark your calendars now. 


Should you want to honor her memory, please make a donation in her name to Médecins Sans Frontières.


Thank you all for your kind words, messages, cards.

Richard and Nicholas


Announcement - Flagstaff Shakespeare Festival

The Shakespeare Conference: SHK 29.0253  Friday, 13 July 2018


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

Date:        July 11, 2018 at 10:58 AM EDT

Subject:    Announcement - Flagstaff Shakespeare Festival


Flagstaff, Arizona is about to become a major player in Shakespearean performance! Flagstaff Shakespeare Festival ( is a company about to open its 4th season: Taming of the Shrew, July 12-22; Titus Andronicus, July 20-29, and The Tempest, Oct 5-14. 

In their short 4-year history, they have used several performance spaces throughout Flagstaff, and are currently under an open-air tent at the edge of a pine forest behind the Museum of Northern Arizona. 

But this amazing young company just revealed plans to build their very own Wooden-O, all local timber, on Mars Hill, next to the world-renowned Lowell Observatory. This $2 million project is almost halfway funded and should be ready by summer of 2020. 

Full disclosure: I am NOT on staff of this company, and I live 125 miles away; but I have seen all of their shows, played Mistress Page last summer, and will be appearing as Signora Baptista Minola in Shrew. I am so impressed with the quick growth and amazing support generated by this company, and the quality of their productions, attention and dedication to the text, and the beautiful surroundings of their outdoor performances spaces. Please give them a look and visit them when you are near the Grand Canyon!

Announcement - Timon of Athens Performance

The Shakespeare Conference: SHK 29.0252  Wednesday, 11 July 2018


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

Date:        July 10, 2018 at 7:06 AM EDT

Subject:    Announcement - Timon of Athens Performance




Shakespeare at Pendleton is a performance group formed at the Pendleton Correctional Facility in 2013. The Pendleton Correctional Facility is a maximum security prison located about 25 miles northeast of Indianapolis. So far, Shakespeare at Pendleton has performed Coriolanus and scenes from Much Ado About Nothing and A Midsummer Night's Dream. On Friday evening, July 27th, we will be doing our third show, what I believe is the first ever performance of Timon of Athens within a prison. The men have been doing excellent work preparing for this show. If you live reasonably near Indianapolis, Indiana, you may contact me, soon, for details on attending. 




Jack Heller

This email address is being protected from spambots. You need JavaScript enabled to view it. (please use this address to contact me about the performance)

Associate Editor Stephanie Chamberlain Taking Over for Rest of July

The Shakespeare Conference: SHK 29.0249  Friday, 6 July 2018


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

Date:         Friday, July 6, 2018

Subject:    Associate Editor Stephanie Chamberlain Taking Over for Rest of July 


Dear Subscribers,


Associate Editor Stephanie Chamberlain will be taking over the editing duties for the remainder of July.


Professor Stephanie Chamberlain teaches at Southeast Missouri State University. She specializes in Shakespeare and early modern English literature. She has publications in The Upstart Crow: A Shakespeare Journal, Journal of the Wooden O Symposium, Medievalia et Humanistica: Studies in Medieval and Renaissance Culture, Explorations in Renaissance Culture, College Literature, Quidditas: JRMMRA, Ben Jonson Journal, in Domestic Arrangements in Early Modern England, edited by Kari Boyd McBride, and in the forthcoming Traveling/Travailing Women: Early Modern England and the Wider World, edited by Patricia Akhimie and Bernadette Andrea.


Let me express my gratitude to Professor Chamberlain for stepping up and volunteering to be SHAKSPER’s Associate Editor and for giving me a rest for the remainder of July.






Book Announcement - Shakespeare’s Double Plays

The Shakespeare Conference: SHK 29.0245  Tuesday, 3 July 2018


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

Date:         July 2, 2018 at 10:03:51 PM EDT

Subject:    Announcement - Publication


Dear Fellow SHAKSPER Member,


I’m pleased to announce that my book, Shakespeare’s Double Plays: Dramatic Economy on the Early Modern Stage, is now available from Cambridge UP. The book may be useful for scholars and practitioners interested in Shakespeare performance, particularly questions of casting, doubling roles, dramaturgy, phenomenology, boy actors, metatheater and more. More information is available at this link:


The book is 20% off on the Cambridge site with the discount code “GAMBOA2018”. I hope you’ll consider ordering it and/or recommending it to campus libraries and theater companies near you.



Brett Gamboa

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


Book Description: In the first comprehensive study of how Shakespeare designed his plays to suit his playing company, Brett Gamboa demonstrates how Shakespeare turned his limitations to creative advantage, and how doubling roles suited his unique sense of the dramatic. By attending closely to their dramaturgical structures, Gamboa analyses casting requirements for the plays Shakespeare wrote for the company between 1594 and 1610, and describes how using the embedded casting patterns can enhance their thematic and theatrical potential. Drawing on historical records, dramatic theory, and contemporary performance this innovative work questions received ideas about early modern staging and provides scholars and contemporary theatre practitioners with a valuable guide to understanding how casting can help facilitate audience engagement. Supported by an appendix of speculative doubling charts for plays, illustrations, and online resources, this is a major contribution to the understanding of Shakespeare's dramatic craft.




Ado Productions in Ohio

The Shakespeare Conference: SHK 29.0239  Friday, 29 June 2018


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

Date:         June 28, 2018 at 2:16:25 PM EDT

Subject:    Ado Productions in Ohio




The Scioto Society, producer of the outstanding outdoor drama Tecumseh! presents “Shakespeare at Sugarloaf” every summer, by the equity actors who do the historical drama about the Shawnee leader. This year it will be Much Ado About Nothing, on Sunday July 29. Tickets are free but must be reserved. The outdoor theatre on Sugarloaf Mountain near Ohio’s first capital, Chillicothe, is itself worth the trip. Go to to reserve tickets, tell your friends and students. 


For more about the area, go to


Kezia Sproat




Great Web Site

The Shakespeare Conference: SHK 29.0233  Wednesday, 27 June 2018


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

Date:         June 27, 2018 at 10:14:34 AM EDT

Subject:    Great Web Site


I would like to recommend a great web site,


which is maintained by a subscriber to this list. It has all sorts of useful material on it. In particular if you want to know for instance the next time Pericles is going to be produced in your neighborhood, this is the site. And lots of other valuable information. I wish that everybody who produced plays added their announcements to this site as a matter of course. 






Ethan McSweeny Named New Artistic Director of ASC

The Shakespeare Conference: SHK 29.0232  Wednesday, 27 June 2018


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

Date:         June 26, 2018 at 1:51:10 PM EDT

Subject:    Ethan McSweeny Named New Artistic Director of ASC


Ethan McSweeny Named New Artistic Director of American Shakespeare Center In Staunton, VA

by BWW News Desk 

Jun. 26, 2018  


The American Shakespeare Center (ASC) today announced that the company has chosen Ethan McSweeny, an internationally acclaimed theatre artist with more than 80 productions to his credit, as its new Artistic Director.


McSweeny, a freelance director who has helmed productions on many of the preeminent stages across North America, on Broadway, off-Broadway, and abroad, succeeds Jim Warren, who co-founded the organization almost 30 years ago and stepped down at the end of 2017.


Co-founder Ralph Alan Cohen, the ASC’s director of mission, commented, “To have someone as accomplished and insightful as Ethan join us as our Artistic Director feels both gratifying and sustaining: It speaks to our success in the past three decades and assures that the future of the ASC will be brilliant.”


“I’ve appreciated the ASC from afar for some time,” McSweeny stated. “As I began to learn more about the organization, I was struck by the quality of what has been achieved and the potential the company has to grow its mission locally, regionally, nationally, and even internationally. The ASC’s celebration of the human spirit through Shakespeare is an inspiring goal that transcends merely the making of plays and engages with something larger, something that I am humbled and excited to become a part of nurturing and building.”


[ . . . ]


McSweeny, upon earning the first bachelor in Theatre and Dramatic Arts conferred by Columbia University, spent four formative years as the Associate Director of the Shakespeare Theatre Company in Washington, D.C. For eight years, he led the Chautauqua Theater Company in New York as co-Artistic Director, guiding the theatre to national prominence as a vital center for the cultivation of emerging artists and the incubation of exciting and relevant new work for the stage. Contributing to the national field, McSweeny served twelve years on Executive Board of SDC, the labor union representing Stage Directors and Choreographers, and remains deeply involved as a trustee of the SDC Foundation.


His productions have garnered more than 75 theatre award nominations and claimed 30 wins, including four for Best Director: Twelfth Night (Shakespeare Theatre Company, 2017); A Streetcar Named Desire (Gate Dublin, 2013); A Body of Water (The Old Globe, 2006); and Six Degrees of Separation (Guthrie, 2003). Among his New York City credits are Broadway productions of The Best Manin 2000 (Tony Award nomination, Drama Desk and Outer Critics Circle awards) and A Time To Kill in 2013, as well as the off-Broadway premieres of Ellen McLaughlin’s adaptation of Aeschylus’s The Persians, Kate Fodor’s Rx and100 Saints, Jason Grote’s 1001, and John Logan’s Never the Sinner (Outer Critics Circle and Drama Desk Awards).


[ . . . ]


In anticipation of working in ASC’s Blackfriars Playhouse, the world’s only re-creation of Shakespeare’s indoor stage, McSweeny said, “Despite the variety of productions I’ve been involved with, I am a classicist at heart; measuring up to the extraordinary demands Shakespeare places on every skill that an actor and director possess has been the backbone of my work and training. I want to position the ASC not so much as a place for ‘original practices’ but as a laboratory for a cutting-edge, innovative company that dares to put the focus of theatre where it should be: on the handmade, on the performer, and on the words.”


[ . . . ]


The American Shakespeare Center recovers the joys and accessibility of Shakespeare’s theatre, language, and humanity by exploring the English Renaissance stage and its practices through performance and education. Year-round in Staunton’s Blackfriars Playhouse-the world’s only re-creation of Shakespeare’s indoor theatre-the ASC’s innovative programming and “shamelessly entertaining” (The Washington Post) productions have shared the delights of Shakespeare, modern classics and new plays with millions over the past 30 years. Beyond the Playhouse, the ASC is a hubfor Shakespeare education and scholarship and also tours from Texas to Maine each year with a repertory of three plays. Founded in 1988 as Shenandoah Shakespeare Express, the organization became the American Shakespeare Center in 2005 and can be found online at and on Facebook, Instagram, and Twitter.




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