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Examines references to English actors in printed cast lists, actor lists, and other paratexts, in playbooks printed during seventeenth century. Focuses on King's Servants (house company of Shakespeare), and touches on performances of Shakespeare's plays before 1642 and after Restoration. Argues that printed allusions to actors have disparate functions depending on their moment of publication: those printed before the theaters closed in 1642 serve as mementos of contemporary theatrical performance, while those printed after 1642 nostalgically recall the pre-war theater. Singles out textual allusions to King Servant actors John Lowin and Joseph Taylor as representive of changing attitudes towards theatrical past. 

Offers an edition of 214 extracts contained in Northwestern MS 67, manuscript completed no earlier than 1614, including commentary on anonymous compiler’s selections and practice. Contains two extracts from Shakespeare’s Pericles (2.1.28-30 and 121-22). English summary, 670.]

Discusses eco-feminist aims of Cymbeline adaptation of that toured Montana and surrounding states in Summer 2021 as part of the “Cymbeline in the Anthropocene” project. Shows how costumes, set design, and emphasis upon the female characters created new ways of thinking about connection between human and more-than-human worlds. Includes first-person account of author's experience performing role of Imogen and engaging with spectators about their own relationship to theatre and natural world. English summary, 299.

Calls upon image industry to confront the rise of Fascism in United States with films like Casablanca or other media-based initiatives for social change in same way that Shakespeare challenged the powers that be in his own time.

Proposes that first title for Shakespeare and Fletcher’s Henry VIII, All Is True, signifies that play's subject matter is devoted to aspect of “troth” or loyalty. Claims that, in the play, Lord Chamberlain loyally serves Henrician monarchy’s “truth” in same way that Jacobean Lord Chamberlain faithfully pursued James I’s religious and monarchic goals. Argues that by assuring audiences of monarchy's integrity and legitimacy , play’s Lord Chamberlain exemplifies “troth” of English civil religion, by which tools of religion and culture are marshalled to support current regime’s efforts to form unified national church. English summary, 287.

Investigates role of actress in nineteenth-century American theater. Discusses famous Shakespearean actresses in America like Fanny Kemble and Charlotte Cushman, as well as popular Shakespearean roles for women.

Explores differences between first quarto of Henry V and folio version of play, which is more than twice as long as quarto version. Analyzes critical explanations previously offered for differences between two texts (often assuming cuts for theatrical performances), then offers own assessment of “unparalleled brevity of the quarto.”

Contextualizes role of conscience in Hamlet in terms of influences on early modern religious and legal traditions, noting how older traditions of medieval scholasticism, Jesuit casuistry, chancery conscience adopted by English legal system and Lutheran and Calvinist views of reformed conscience influenced views of conscience into seventeenth century. Demonstrates how Hamlet’s thinking reflects these competing notions of conscience, leading to paralysis and doubt.

Observes how oceans transform characters’ lives in Shakespeare’s plays to ask questions about significance of nonhuman “watery” agency, noting centrality of topic to material ecocriticism. Focuses on role of “oceanic agency” in Pericles, noting how oceans purposefully transform characters’ personal and political lives.

Connects premodern critical race studies with affect theory to close read Othello. Observes that perceptions of race in Othello are closely linked to emotion, arguing “that the inscription of racial identity onto Othello by the inhabitants of Venice is fundamentally an emotional process.”