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Zoë Svendsen, dramaturg. Sets by Chloe Lamford; costumes by Michael Vale; lighting by Jai Mojaria; and music by Pete Malkin, Benjamin Grant, and Sola Akingbola.

Produced by the National Theatre (https://www.nationaltheatre.org) at Lyttelton Theatre, London, 30 November 2022-21 January 2023; and on tour.

With Jack Bardoe and Joe Bolland (Roderigo), Kirsty J. Curtis and Katie Matsell (Bianca), Peter Eastland and Jay Simpson (Brabantio/Gratiano), Patrick Elue and Giles Terera (Othello), Rory Fleck Byrne and Ryan Whittle (Cassio), Tanja Franks and Sabi Perez (Emilia), Colm Gormley (Lodovico/Duke of Venice), Paul Hilton (Iago/Gareth Kennerley), Gareth Kennerley and Steffan Rizzi (Montano), Joshua Lacey (Lodovico), Martin Marquez (Duke of Venice), and Rosey McEwen and Amy Newton (Desdemona).

Includes musical settings of Sonnets 15 (originally published in 2002), 18 (originally published in 2002), and 43 (originaly published in 2001).

Analyses Howard Barker’s rewriting of Hamlet in Gertrude-The Cry (q.v.) as attempt to challenge norms of womanhood represented in conventional literary works. Underscores the transformations in Barker’s work related to women’s roles and status in society. Connects Barker's themes of personal will and sexual liberation with relevant legislations of New Labour as ruling party in Britain in early years of twenty-first century. English summary, online.

Translated from Portuguese into Spanish by Luis Alberto Alonso Aude, Paulo Atto, and Juan David González Beta. Photos by Andrea Dias Viana, Célia Agular, José Luis Nieto, Marcio Lima, and Paulo Atto.

Playscripts for three short plays: A terra de Caliban/La tierra de Caliban, A herança de Macbeth/La Herencia de Macbeth, and Antônio e Cleópatra: o desencontro do olhar/Antonio y Cleopatra: el desencuentro del mirar. Includes prologue by Paulo Atto, photos of productions, and reviews. In Portuguese and Spanish.

Scrutinises, through Victor Turner’s term "communitas"  (group or community’s collective journey through rite of passage), how court characters in As You Like It collectively experience liminality in Forest of Arden. English summary, online.

Gives general overview of history and use of gerontology and age studies in literary criticism. Frames a methodology for the study of Shakespeare's works through literary gerontology with examples from King Lear. 

Dramaturgy by James Magruder.

Modern verse translation. Includes series preface by Lue Douthit and foreword by Lillian Groag.

Dramaturgy by Martine Kei Green-Rogers.

Modern verse translation. Includes series preface by Lue Douthit and foreword by Christina Anderson.

Studies poesy as form of knowledge creation in Love’s Labor’s Lost, to argue that play “explores and advances a racialized theory of poesy as a masculine property of whiteness.”

Argues Shakespeare’s work consistently connect childhood with whiteness, a connection that continues to pervade British and American cultural imaginations. Offers case study that reads white boys’ performances of race in Henry V, noting how children participate in process of “racecraft.”