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Retelling of Much Ado about Nothing.

Considers narrative and thematic significance of confession in Romeo and Juliet. Argues Shakespeare disrupts power dynamics of confession, troubling relationships between shriving friars and people taking confessions. English summary, 43.

Discusses repertory model as depicted in Tom Stuart's play, After Edward (2019), produced at Shakespeare's Globe. Considers how new plays negotiate Shakespearean tradition and Globe as Shakespearean playspace. Investigates how After Edward, performed in repertory with Christopher Marlowe's Edward II, "allow[s] Stuart as actor and writer to reconcile his lived experience as a gay man with his work as an actor," thus provoking "praxis of ensemble as artist development." English summary, 157.

Employs transnational approach to studying cross-gender casting and "queer fascination" with women's contemporary performance Shakespeare’s male roles. Considers case study of Jungmin Ahn's South Korean film, Fantasy of the Girls (2018), which adapts Romeo and Juliet to setting of South Korean all-girls school. Investigates South Korean cultural practice of iban, wherein cross-dressing functions as means of identity production, with particular focus on casting of Romeo. English summary, 381.

Analyzes oft-quoted line from Julius Caesar, "Yond Cassius has a lean and hungry look" in connection with early modern discourse on envy, noting that Shakespeare departed from source material in making Cassius envious of Caesar, and unpacking implication of leaness and hunger with respect to envy. Argues that Shakespeare’s figuring of envy resonated with contemporary audiences. English summary, 67.

Explores staging of new, modern, writing at Royal Shakespeare Company (RSC) and Shakespeare's Globe. Focuses specifically on David Greig’s Dunsinane (2010, q.v.) at RSC and Howard Brenton’s Anne Boleyn (2010), latter presented alongside Henry VIII, Henry IV Part 1 and Henry IV Part 2. at Shakespeare's Globe. Discusses "how these plays derive distinctive meanings from their repertory connection to Shakespeare" while also challenging "causal links between past and present, including the supposed lineage between Shakespeare and contemporary writers that both institutions espouse." English summary, 173.

Considers staging of Titus Andronicus' forest sequence at Rose Theater in 1594 to explore question of whether stage posts were employed to represent trees onstage or whether stages were largely bare. Weighs evidence to conclude that it is likely that performance of Titus Andronicus used stage properties to represent trees.

Considers Scott McMillin's hypothesis of "restricted roles" in early modern theater (roles wherein female characters took cue lines from small group of other characters) and what they suggest about apprenticeship of boy actors. Applies McMillin's hypothesis to Shakespeare's Winter's Tale, considering roles performed by boys. English summary, 145.

Considers significance of technology in Michael Almereyda’s film Hamlet (2000, q.v.) two decades after it premiered, analyzing the films use of “technologies of memory” alongside contemporary uses of streaming platforms and digital technologies. Notes how technology confuses images with reality, connecting it with presence of Hamlet’s Ghost. English summary, 519.

Discusses Habib Tanvir’s adaptation of Midsummer Night’s Dream, Kamdev Ka Apna Basant Ritu Ka Sapna [The Love God’s Own, A Springtime Dream] (q.v.). Explores its approach to class and language hierarchies, exploring characters' use of English (associated with elites), Hindi/Urdu/Hindustani (official language) and local Chattisgarhi dialect (used by working-class mechanicals). Argues Tanvir "taps into the subversive potential of Dream in order to bring to the fore and question the inequalities present in post-Independence India." English summary, online.