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Argues that Jung-ung Yang's Midsummer Night's Dream (q.v.), despite its Asian aesthetic, creates an intercultural synthesis through its rhythmical organization.
Analyzes Andrea Baracco's removal of Caesar and attention to darkness in his Giulio Cesare (q.v.).
Uses a cultural materialist perspective to examine the ideological and political implications of Joseph Abuk and Derik Uya Alfred's Cymbeline (q.v.) in the Globe.
Focuses on the "hybrid identity of the former colony" and on the particular condition of Hong Kong in Tang Shu-wing's production of Titus Andronicus (q.v.).
In bringing together Tang Shu-wing's three versions of Titus Andronicus (q.v.) with the national politics of "an historical relationship to Shakespeare," examines how each shows different treatments of the "human subject in extreme violence."
Comments on secular and political aspects of Conall Morrison's Richard II (q.v.).
In highlighting some directorial choices of Conall Morrison in his production of Richard II (q.v.), argues that it suggests one way of adapting Shakespeare beyond the "the historical context of the Elizabethan stage."
Draws on Shakespeare to show how early modern authors use child figures to rework unsuccessful forms of cultural reproduction in order to assert stability and reveal volatility.
Examines GQ and JQ's Othello: The Remix (q.v.) with a focus on "the late capitalist logic of the marketable commodity that is hip hop," arguing for the truly "global" aspect of the production.
Through examining the cultural poetics and dramatic action of Welcome Msomi's uMabatha , analyzes how the ngoma structures of the play allow for an exploration of the interactions of local traditions and of the play's complexities as a transmediator of Macbeth.