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Argues that Shakespeare's writing can be detected in prose of Lewis Theobold's Double Falsehood using stylometric evidence.
Rejects Tiffany Stern's argument in "'The forgery of some modern author'?: Theobald's Shakespeare and Cardenio's Double Falsehood" (q.v.) that Shakespeare did not write Cardenio or Double Falsehood.
Analyzes dramatic and lyrical offstage actions and scenes to clarify the connections between Double Falsehood, Cardenio, and Shakeseare's romances.
Examines the "unintegrated aural landscape" of Spanish culture in the Royal Shakespeare Company's 2011 production of Cardenio, directed by Gregory Doran (q.v.), arguing for an "exoticized portrait of hispanidad" in the production.
Explores how Shakespeare and John Donne's puns on die set up a middle space between "mortal and orgasmic death," thereby "escap[ing] from the confines and damages of linear time through what [the author] term[s] 'embodied time.'" Focuses on the language of masturbation in Sonnets.
Discusses directorial decisions made in the 2012 production of The History of Cardenio (q.v.) in Indianapolis.
Evaluates Gary Taylor's adaptation of The History of Cardenio (q.v.) and its 2012 production dir. Terri Bourus (q.v.).
Script for Cardenio used in Terri Bourus's 2012 production (q.v.) with "A Posthumous Collaborator's Preface."
Argues that Gary Taylor's performance script The History of Cardenio (q.v.) offers the possibility of discussing the "intersectionality of race, class and gender" with complementary perspectives for Shakespeare scholarship.
Focuses on the complex description of male friendship and the "sidelining of some forms of masculinity" in Fletcherean comedy and tragicomedy, including Two Noble Kinsmen.