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Examines the ways in which traces of globalization are manifested in Sangeeta Datta's Life Goes On (q.v.), a film adaptation of King Lear, and considers how the film's melodramatic mode, use of a mother figure, and depiction of nature can all provoke reactions that connect worldwide audiences. English summary, 304.

Analyzes the appropriation of the figure of the African trickster and Shakespearean characters in Davlin Thomas's adaptations of King Lear (Lear Ananci) and Hamlet (Hamlet: The Eshu Experience), focusing on how these adaptations present the challenges to postcolonialism. English summary, 313.

Discusses Ermete Zacconi's 1901 premiere of Othello at the Comedia theater in Madrid and other Shakespearean performances involving European touring stars, including Sarah Bernhardt; examines how these performances constituted a theatrical model of prestige for a few Spanish actor-managers who took their production around the nation and Latin America. English summary, 322.

Argues that, in Shakespeare and Thomas Middleton's Timon of Athens, Timon's pestilential language offers "a peculiar olfactory catalogue of purges" and a "state of metaphorical asphyxiation" that envision the breakdown of Athens as a deposit of volatile odors, thus conveying the inward rot of urban society.

Argues that in Midsummer Night's Dream Oberon, through his lack of conformity to early modern understandings of masculinity and his resemblance to early modern assumptions about women, can be perceived as a rebellious subject, thus demonstrating how the power dynamics of the world of the play provide a more complex representation of gender and sexuality.

Focusing on Shakespeare's Globe Theatre, argues that a sense of historical difference has been built into reconstructed early modern playhouses to comic effect, derived from the juxtaposition of two images: that of the architecture of the interior of the Globe and that of the modern spectators. Suggests that juxtaposition of these two images creates a special comic tension.

In examining the Shakespearean "glass ceiling," seeks to view colorblind casting from multiple angles in order to highlight aspects of its manifestation in contemporary British theater. In looking at casting practices and patterns, describes how these practices work in generalized terms in order to challenge assumptions made by reviewers.

Analyzes the reception of the Perttu Leppä's film 8 päivää ensi-iltaan (8 Days to the Premiere), a romantic comedy which tells the story of a theatrical company putting on Romeo and Juliet, in order to contribute to the growing body of criticism examining the ways Shakespeare functions in local, national, and global contexts. English summary, 330.

Draws on Hamlet to examine the cultural construction of madness and foolishness in early modern revenge tragedies.

Draws on 2 Henry VI to analyze how physically blind characters, as opposed to characters who are metaphorically blind, had the same sort of unsettling impact on early modern audiences as do contemporary disabled performance artists.