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Presents an overview of the programming and related details of the Craiova International Shakespeare Festival, founded in 1994 by Emil Boroghină. Draws particular attention to Boroghină’s selection of outstanding directors and the festival’s varied theater activities, particularly in its celebratory year. English summary, 411.

Builds on previous scholarship (q.v.) about baited bears in England who competed with plays for trade, fame, and patronage. Provides a long view of the Shakespeare's career, culminating in an analysis of The Winter’s Tale, where the famous stage direction “Exit, pursued by a bear” and the statue of Hermione evolve into the polar opposites and structural pivots of Shakespeare’s art and career arc. English summary, 305.

Scrutinizes importance of roses as props on-stage in English history places set during the Wars of the Roses, focusing on 1 Henry VI and 3 Henry VI. Argues that on-stage roses are "vegetal co-stars" that were carefully selected for performance and immediately legible for audiences. English summary, 180.

Describes how the Rose Theatre renovations added pillars that "came to regularly serve as trees, arbours, and other ecological features to facilitate a character’s death" in multiple plays across the repertory, including where Aaron buries gold in Titus Andronicus. English summary, 65.

Argues that, particularly when he portrayed Richard III, Edmund Kean’s use of sword(s) "showed off his prodigious physical skill and then became enmeshed in his bodily decline." Suggests that Kean "consistently depended ... on his sword, to win him acclaim and ‘prop’ him up, literally and figuratively, on the stage." English summary, 56.

Describes performing as "Othello's man," a role created with a black man who "could appear as black in the play, but ... could not be black in the play," that is, did not warn Othello about Iago's perfidiousness. Contends that, all too often, "the inanimate prop of black flesh" "cannot perform for itself, but rather performs visions of blackness designed to comfort white audiences." English summary, 80.

Explores how "baby-props" perform humanness and race in Winter's Tale, Titus Andronicus, and David Ireland’s Cyprus Avenue (2016). Suggests that Aaron and Tamora's baby in Titus Andronicus "shows how props accrue and reflect cultural meaning for performers, audiences, and editors not just in theatrical repertoire across plays but also across centuries of performance practice and histories of racial formation." Contends that in Winter’s Tale, "Perdita’s relatively generic baby-prop materialises Leontes’s suspicions of her interchangeability and infiltrating 'strangeness'." English summary, 93.

"Details a series of staging experiments conducted in a graduate Shakespeare class to investigate the dramaturgical possibilities of Ophelia’s bouquet, asking how these items shape our perception and understanding of Ophelia, her mental state, and place within the play." Describes how flowers reflected can embody different versions of Ophelia's madness (as enumerated by Elaine Showalter), notably: childish innocence, "hypersexual madwoman," and "madness as protest and rebellion." English summary, 108.

Draws on multiple Shakespearean examples to offer a state-of-the-field analysis of scholarship about props. English summary, 125.

Introduces special issue that considers how some Shakespeare plays are considered "essential" or "necessary" and how "these words serve largely to endorse the idea that some of Shakespeare’s plays are worthier of study than others."