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Shows how sonnets by Patience Agbabi and Sophie Hannah re-write and challenge sonnet form using Shakespearean intertexts.
Outlines contemporary critical debates about boy actors on the Renaissance stage, focusing on how the audiences perceived them. Draws on evidence from Shakespeare's plays to suggest that audience reactions to boy actors could be varied, and suggesting that boy actors could be positioned as both queer and heterosexual objects of desire for a male audience.
Focuses on two American artists who contributed to the Boydell Shakespeare gallery: Benjamin West, who painted "Lear in the Storm" and "Ophelia's Madness"; and Mather Brown, who painted Richard II's decoronation and "Earl of Surrey, Defending his Allegiance to Richard III." Argues that when the Shakespeare Gallery began to flounder in England, Shearjashub "Spooner brought it to America, gave it new life, and helped shape its critical reception in the United States" by publishing engravings of West's and Brown's paintings by William Sharpe, Richard Earlom, Francis Legat, and Benjamin Smith.
Undertakes feminist analysis of Ann-Marie MacDonald’s Goodnight Desdemona (Good Morning Juliet), Paula
Vogel’s Desdemona: A Play About a Handkerchief, Djanet Sears’s Harlem Duet, and Toni Morrison’s Desdemona (q.v. all). Suggests that despite their different approaches, these adaptations "want to give voice to the silenced." English summary, 27.
Suggests that although George Bernard Shaw did not approve of Shakespeare's "moral purpose and message," Shaw had "obvious enthusiasm about Shakespeare's language." Traces Shavian allusions to Shakespeare in The Dark Lady of the Sonnets, “A Dressing Room Secret” and Shakes vs. Shav. English summary, 9-10.
Positions readers of Maggie O'Farrell's Hamnet (q.v.) as co-creators of meaning for Anne Hathaway's biography. English summary, 151.
Describes bone imagery in Shakespeare's plays with attention to echoes of medieval imagery, including memento mori. English summary, 163.
Suggests that Zoe Seaton's zoom production of Tempest (2019, q.v.) created communitas for audience members during pandemic lockdown, which "exceeded the limits of co-location in a physical social space." English summary, 41.
Interview with Ewan Fernie about University of Birmingham and Birmingham City Council's “Everything to Everybody.”
Suggests that Stephen Greenblatt's fashioning of tyranny (q.v.) "focuses indirectly on Donald Trump." Reminds scholars that articles uncovering subversion in Shakespeare's works are not necessarily subversive themselves. Concludes that "Greenblatt’s brand of subversion continues in the Elizabethan past, not in the present." English summary, 105.