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By Mojisola Adebayo. Joelle Ikwa, assistant director. Ola Animashawun, dramaturg. Sets by Simon Kenny, lighting by Ben Ormerod, and sound and music by Arun Ghosh. 

With Aimee Powell (Desdeknownow), Harris Cain (Nothello), Rayyah McCaul (Desdemona/Emilia/Cathy), Gabriel Akamo (Othello/Otis), and Alex Scott Fairley (Iago/Colin).

Zoë Svendsen, dramaturg. Naeem Hayat, assistant director. Costumes by Jackie Orton; music by Rio Kai (musical director) and Cassie Kinoshi (composer); design by Paul Wills.

With Peter Bourke (Gonzalo), Rachel Hannah Clarke (Ariel), Ralph Davis (Trinculo), George Fouracres (Stefano), Joanne Howarth (Francisco), Olivier Huband (Ferdinand), Nadi Kemp-Sayfi (Miranda), Ciarán O'Brien (Caliban), Patrick Osborne (Antonio), Lucy Phelps (Sebastian), Ferdy Roberts (Prospero), and Katy Stephens (Alonso).

Shows how Shakespeare draws on a racialized "lexicon of aged female deformity" in describing Sycorax's "hoop" and evoking sagging breasts, a hunchback, and Otherness. Concludes that "Sycorax's hoop ultimately functions as an adaptable screen for various projections of the monstrous, racialized, and pathological old crone." English summary, 263.

Outlines debates on the attribution of Arden of Faversham's authorship. Points to recurrence of "'pragmatic' or 'hesitation' markers (common expressions in mild exclamations)" such as "how now" and "pray thee" as evidence of a single author for the play. Uses lexical parallels to suggest Arden of Faversham's "author might indeed have been Shakespeare." English summary, 264.

Reads Rosalind's advice to Orlando in As You Like It in tradition of early modern didactic literature and modern self-help books, suggesting that readers in Shakespeare's day found pleasure in "judicious counsel." English summary, 265.

Explores how Taylor Mac's Gary: A Sequel to Titus Andronicus (directed by George C. Wolfe, q.v.) as a queer appropriation that uses camp imagery and spectacle to invite audiences to think about gender, futurity, and aesthetics in Titus Andronicus and on Broadway. English summary, 264.

Positions Dogberry's foolishness as pietas, that is, moral goodness and duty. Suggests that Dogberry is a dutiful constable who serves his community and acts as "a good Samaritan." English summary, 263.

Describes untranslatability of "To be, or not to be" into Japanese, a language that has no "to be" verb. Considers meaningfulness of Hamlet's soliloquy and its possible "unthinkable" nature in Japan, interrogating the "deep-seated Western assumptions about what counts as as a questioning of the world, and thus what makes a literary work intellectually significant."

Suggests that translations of Merchant of Venice shaped Japanese perceptions of Jewishness. Surveys Japanese translations of Merchant of Venice, showing how some elided the play's Christian references, "thereby seculariz[ing] the Venetian citizens, while letting the Jewish characters remain religious." Notes that Shoyo Tsubouchi's 1906 translation added extensive stage directions that made Shylock's character more tragic.

Università di Verona

Presents sources, analogues, "paralogues," and "intertexualities" for a number of Shakespeare plays. Offers links to facsimiles as well as semi-diplomatic and modernized transcriptions of Shakespearean intertexts.