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Considers Shakespeare's author-function on early publications where he is named or not named. Describes class conflict as registered in the nineteenth-century riots when both Edwin Forrest and William Macready were playing Macbeth in New York City.

Describes two teaching modules for undergraduate learning—"Shakespeare without chairs," where students engage with the plays in an open theater space; "On Trial: Shakespeare and the Law," where students perform and engage in mock-trials—and a postgraduate certificate in Teaching Shakespeare that emphasizes performance. Offers student responses, descriptions of class sessions and curricula, and assignment guidelines. 

Explores how Femi Osofisan’s Wẹ̀sóo, Hamlet! or the Resurrection of Hamlet and Simon Godwin's Hamlet at the Royal Shakespeare Company (both q.v.) adapt Hamlet into African settings.

Analyzes Wulf Sach's Black Hamlet: The Mind of an African Negro Revealed by Psychoanalysis (1937).

Suggests that Antonio Schinella Conti’s Giulio Cesare (1726) and Voltaire’s La Mort de César (1735) are "reworkings, reappropriations and deliberate responses to the provocation that the ‘barbaric’ form of Shakespeare represented for neoclassical formal traditions." Shows how these adaptations reduce the number of characters, compress the action, and amplify classical themes.

Includes three chapters on Shakespeare.

Shows how the Station Eleven television series (q.v.) expands Shakespearean intertexts from the novel, namly King Lear, Tempest, and Hamlet. Demonstrates that Station Eleven's "recycling" of Shakespeare often comes through Shakespearean adaptations and not direct references to Shakespeare. Considers "Station Eleven's ending in its romance spirit" in counterpoint to its tragic allusions, post-apocalyptic setting, and eco-critical drive.

Shows different modes of intertextuality in Paul Matthew Thompson and Jude Tindall's BBC show, Shakespeare & Hathaway: Private Investigators (premiered 2018), including Shakespearean allusions in paratexts such as advertisements, "names of characters, venues, and enterprises," borrowed plot points, and quotations. Argues that "Shakespeare & Hathaway takes a stand on the side of Shakespeare as a canonical author, a representative of high culture, by mocking (however lovingly) its protagonists’ ignorance of Shakespeare’s oeuvre and cultural significance."

Positions HBO's television show Succession as an adaptation of King Lear, tracing the series' Shakespearean adaptations and allusions. Considers audience reception of Succession as Shakespearean as registered in memes. Suggests that Succession "invokes white, cis male (Shakespearean) fathers with the potential to critique them but finds that it cannot escape this mode of (Shakespearean) masculinity"; explores show's presentation of Lear's themes in our moment of climate change crisis.

Posits ballet as inherently serial, where productions draw on and modify or challenge existing choreographies. Describes casting and "queer seriality" of Benjamin Millepied’s 2022 staging of Sergei Prokofiev’s ballet Romeo and Juliet (q.v.), where Romeo and Juliet were played by different dancers each performance, including mixed-race and same-sex couples.