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Analyzes the "two simultaneous versions of medieval history" in Henry V, particularly in the presence of the Chorus. Uses examples from stage productions to conclude that "as a medievalist text, Henry V challenges the notion that medieval history can ever be static."

Introduces a classroom activity wherein "students will consider the effect that varying the space and audience attributes has on the scenes feature character-audience members" like Sly in Taming of the Shrew.

Examines presence of "stage sitters" in the Blackfriars and its effect on Tempest and Two Noble Kinsmen. Suggests that the gallants sitting on stage were expected as part of the design of these plays that their presence warrants more critical attention.

Suggests an alternative model of the Blackfriars stage in which the stage is extended "the full width of the hall . . . creating an additional twelve feet of width, allowing for wider doors, another couple feet of boxes, and an additional three hundred square feet for stage sitters."

Discusses critical debate over the location of the two Blackfriars theaters. Warns that viewing the two theaters as two separate spaces within the Blackfriars imposes a "modern bias" on the relationship between adult and children's performances, as well as how space impacts early modern performance.

Presents a series of classroom exercises that examine the use of architecture in early modern drama alongside examples from As You Like It Richard III, Comedy of Errors, and Antony and Cleopatra.

"Chart[s] the circulation of sound in Shakespeare's theatre in two stages: first by examining the medium (air), next by surveying the three containers that shaped that medium in Shakespeare's playhouse: the tiring-house, the amphitheatre and the human body."

Discusses effects of light and temperature on early modern performances and gives examples of different references to the seasons in Hamlet, Midsummer Night's Dream, As You Like It, and Romeo and Juliet.

Explores and describes lighting in the early modern private playhouse and the use of darkness in Much Ado About Nothing 1.3 and the masque in Tempest.

Examines different uses of trumpet sounds and early modern military music in Romeo and Juliet, Antony and Cleopatra, Henry V, and Julius Caesar, arguing that these sounds would be familiar to the early modern audience and thus evoke certain responses. Suggests that twenty-first century directors educate the audience by incorporating simple, recognizable sounds for the sound cues rather than attempting to approximate the original sound effects.