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Adam Versényi, dramaturg. JaMeeke Holloway, assistant director. Sets by Amber Meadows and Lawrence E. Moten III, lighting by Tyler Micoleau, and music by Peter Vitale. Tracy Bersley, choreographer.

Produced by the PlayMakers Repertory Company (https://playmakersrep.org) at the Joan H. Gillings Center for Dramatic Art, Chapel Hill, NC, 25 January-12 February 2023. 

With Tia James (Hamlet), Sekou Laidlow (Claudius/Ghost), Kathryn Hunter-Williams (Gertrude), Jeffery Blair Cornell (Polonius/Gravedigger), Sanjana Taskar (Ophelia), Rasool Jahan (Laertes/Player Queen), Hayley Cartee (Horatio), Adam Valentine (Rosencrantz), Heinley Gaspard (Guildenstern), Thomas Nash Tetterton (Barnardo/Priest), Saleemha Sharpe (Marcellus), Jeffery Meanza (Player King), and Jamar Jones (Osric/Lucianus). Peter Vitale (Musician of the Court), Kira Cornell (Ensemble), Kenny Ortiz (Ensemble), and Grace Wissink (Ensemble). 

Investigates new approaches to editing Shakespeare by diverse editors, including BIPOC scholars, women, and non-native English speakers. Employs examples from Richard III to demonstrate how differently Shakespearean texts can be edited and presented to readers, students, and playgoers. English summary, online.

Analyzes documentary evidence identifying Shakespeare and Christopher Marlowe as co-authors for Henry VI plays as well as alternative versions of 2 Henry VI and 3 Henry VI. Unites attribution studies, book history and biography to offer chronological analysis of evidence. Offers documentary support linking Shakespeare and Marlowe as collaborators. English summary, online. 

Asserts ordering of history plays in Shakespeare's First Folio (1623) "involves the most substantial editorial intervention of that volume," provoking centuries of various interpretations. Studies history plays as individual quarto editions in order to evaluate "narrative independence" of each play. English summary, online. 

Deanie Vallone, dramaturg. Emily Newmark, assistant director. Sets by Arnold Bueso, lighting by Jesse Klug, and music by Dan Kazemi. Jenn Rose, choreographer.

Produced by the Milwaukee Repertory Theater (https://www.milwaukeerep.com) at the Quadracci Powerhouse, Milwaukee, WI, 10 January-12 February 2023.

With Nate Burger (Benedick), Mark Corkins (Don Pedro), Jonathan Gillard Daly (Leonato), Michael Doherty (Antonio/Dogberry), Kenneth Hamilton (Claudio), Jenny Hoppes (Ursula/Sexton), Jack Hradecky (Conrade), Alex Keiper (Beatrice), Drew Mitchell (Borachio), Will Mobley (Verges/Balthasar), A.J. Paramo (Seacoal), Michelle Shupe (Don John), Daydra Smith (Oatcake/Friar Francis), Sarah Suzuki (Hero), and Katrien Van Riel (Margaret).

Investigates linguistic pun and homonym of "queen" and "quean" (prostitute or ill-behaved woman or girl) in Shakespeare's plays. Considers significance of pun's use in Elizabethan era and describes other early modern English playwrights' use of pun. 

Argues Troilus and Cressida "pushes Shakespeare’s critique of sovereignty" further than similar critiques in Hamlet and Richard II. Considers how Troilus and Cressida demonstrates "performative critique of power" to reveal "collusion" between politics and theatricality. English summary, online.

Argues that As You Like It presents new possibilities of female agency through its use of figurative language. Argues play's use of simile "illustrates the figure’s instructive potential for both characters and audiences." English summary, online.

Investigates destruction of stage properties during early modern theatrical performances as stage spectacles. Argues such spectacles were also "challenges to the fabric of dramatic artifice, points when the world of the performance seemed to cross into the world of the play." Surveys moments in early modern dramas for presentations of destruction and how such moments are used to make meaning.

Observes definition of "supernumerary" as congenital condition involving growth of additional body part to consider both artistic and political significance of theatrical supernumerary as unspeaking actor onstage. Argues theatrical supernumerary is defined by embodiment but devoid of vocal elements, and therefore functioning as both presence charged by visual meaning, and also absence, as unnamed character with no lines. Offers case studies of supernumeraries in recent productions of Shakespeare's plays, including Gregory Doran’s RSC production of Julius Caesar (2012, q.v.) and Sam Mendes’s production of King Lear for the National Theatre (2014, q.v.). English summary, online.