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Argues that Lolita Chakrabarti's Red Velvet, directed by Indhu Rubasingham (q.v.) successfully draws on intertexts to engage with Othello's performance history and the history of racism in theater. Suggests that Chakrabarti positions her protagonist, Ira Aldridge, as "modern, unconventional, and ahead of his time." English and Spanish summaries, 141-42.

Analyzes Hansgünther Heyme's directorial decisions for Merchant of Venice (q.v.). Considers how Heyme adapts and builds on Vicente Molina Foix's translation, visual and sound effects, and acting. "Delves into the paratextual statements of the play’s director and theatre critics in order to assess their perception of this production." English and Spanish summaries, 129.

Describes Spanish reception of José Carlos Plaza's El mercader de Venecia (q.v.), translated by Vicente Molina Foix, focusing on advertisements for the play as well as review of performance. English and Spanish summaries, 137-38.

Transcribes all known extant manuscripts containing sonnet 2 and collates them in comparison to the 1609 printed text. Rebuts Gary Taylor's claim (q.v.) that some of these manuscripts point to an authorial, Shakespearean text. Describes some of the variants between manuscripts as intentional. English summary, 420.

Contrasts two models of translating Shakespeare into Hebrew: classical (conveying Shakespeare's greatness through archaic and biblical language) and contemporary (using modern Hebrew language). 

Describes history of Falstaff's reception in turns of "'thickening'—an accumulation of mediation" and "roundness" ("liveness") in relation to performance and multiplicity. English summary, 405.

Warns against use of "Word Adjacency Network" (WAN) method to determine authorship of works, particularly when it comes to Shakespeare and Marlowe.

English-language annotated edition of As You Like It based on The New Oxford Shakespeare (q.v.). Preface by Emma Smith; introduction by Todd Borlik; chronology by Jesse Astley. 

Positions allusions to Shakespeare in detective novels by Agatha Christie and Dorothy L. Sayers as part of "a fictional reaction to a pervasive crisis of shared textuality in British culture."

Drawing on Reginald Scot's and King James's anti-witchcraft publications, shows how rhetoric of witch-burning informs Winter's Tale.