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Argues that the inclusion of masques within plays exploited the audience's desire to witness elite practices in the theatrical space and simultaneously validated and criticized the role of the masque and masquing hall in the elite social classes. Accounts for the socio-economic causes and effects of masques within plays, including Two Noble Kinsmen, Timon of Athens, and Tempest.

Explores how "various argumentative, rhetorical, and generic structures at work in Shakespeare's sonnets . . . can be enhanced or effaced by changes in punctuation." Analyzes editions of Sonnets with a series of questions in mind: "What kind of punctuation does the best job of giving modern readers access to early modern texts? Whose punctuation is preserved in editions like Eld's 1609 Sonnets? What was the function of a colon in Shakespeare's day and what, for that matter, was a sentence?"

Studies "the material production of the Shakespearean text," "exploring the way that Shakespeare the historical actor and writer was embodied in his editions" as well as "how his plays were materialized for the sake of his readers." Concentrates on paratextual material in Shakespearean texts "to see how the early modern reading experience of Shakespeare and more generally of plays was beginning to be shaped."

Describes the early modern practice of selling works in compilations or "bundles" and discusses the effect of this context on early reception of Shakespeare.

Analyzes the annotations in several editions of Shakespeare's folios, arguing that "by investigating how the readers-annotators of each of these folios followed or diverged from the scholarly editions to which they appeared to refer, we might begin to understand how they customised their folios, and how these customisations reconfigured Shakespeare."

Describes the practice of grangerizing and studies two grangerized editions of Shakespeare, Huntington Library's J. E. Adlard's edition (1853-63) and Scripps College Denison Library's copy of W. E. Henley's edition (1901-5), arguing that these editions "shed light on Shakespeare reception and performance in post-revolutionary England and America."

Uses observations on the Henry Irving Shakespeare to discuss the relationship between illustrated texts and performance, seeking to answer the question "how do the [illustrated] volumes configure the plays for readers encountering the plays for the first time, those familiar with them from frequent performances, or those who have read the texts in earlier editions?"

Reads King Lear and Nahum Tate's adaptation, The History of King Lear, in terms of an archipelagic framework, focusing on "interactions between the ethnic, religious and national groups around the 'Atlantic Archipelago' including Great Britain and Ireland." Argues that political difference between Shakespeare's and Tate's treatments of the Lear story "characterizes Tate's reconfiguration of Shakespeare as a response to the altered political context of the Exclusion Crisis."

"Address[es] emblematic theatre in the sixteenth century through the lens of its reconfiguration in" productions of Titus Andronicus by Yukio Ninagawa and Lucy Bailey (both q.v.).

Discusses the meaning and usefulness of "configuration" (as opposed to "adaptation") as a theoretical term in Shakespeare studies.