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Explores how Shakespeare's plays can be enjoyed by bringing universal themes such as love to modern readers and audiences, drawing on his own reading and acting experience with Othello.
Discusses how Roysten Abel refashioned Othello according to contemporary concerns in his Othello: A Play in Black and White from an actor's perspective.
Discusses the author's experience of revising Shakespeare's works for The Complete Works of William Shakespeare(abridged). Examines Shakespeare's own revision of texts in complicated textual history of Hamlet.
Reads Tempest in terms of Caliban's associations with the moon and considers John Donne's interest in "the cartographic and the otherworldly." Argues that both writers owe a debt to the skepticism of Michel de Montaigne's "Apologie of Raymond Sebond," which "powerfully emboldens an appreciation of the universe's expansive, interpretive possibilities."
Suggests how Shakespeare's plays enact and embody life's essential paradoxes of religion, politics, and individual inner life.
Draws on acting and directing experience to focus on how Coriolanus leaves audiences with questions and uncertainties.
Uses Julius Caesar to explicate Shakespeare's theatrical experiment that puts "our own capacity for free-thinking on trial."
Examines how problems of speech and existence are connected in Merchant of Venice especially in Shylock's ending.
Draws on his on-stage experience from the tour of Merchant of Venice in various American cities, exploring "visceral relationship between a theatre and a production."
Explains staging issues and directorial decisions in the production of Cymbeline by Fiasco Theater Company.