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Applies "Anna Watkins Fisher’s concept of parasitic resistance" to analyze Merry Wives (2021), adapted by Jocelyn Bioh and directed by Saheem Ali, the Public Theatre's "first performance post-COVID-19 lockdowns, [and] one enacted by an all-Black cast." Considers production in terms of goals of public Shakespeare, articulated by Public Theatre founder Joseph Papp. Argues that Merry Wives "illuminates how performance can subtly subvert the intertwined pressures of capitalism and white patriarchy by appropriating and wielding the tools of performance itself, the specific cultural authority of the Shakespeare system, and the linguistic and artistic cultural capital imagined as inherent to that system, in order to lay bare some of the palimpsest historicities of settler colonialism." English summary, 579.

Describes rewriting Spanish-language translation of Romeo and Juliet for a bilingual New York Public Theatre podcast, Romeo y Julieta (2021), which "made no linguistic or ethnic distinctions between the households." Considers importance of "bilanguaging" for translator, actors, and audience, discussing borderlands, "rhythmic prose" and meter, and importance of language to reach different cultural spheres. English summary, 555.

Examines how Africa is portrayed in three adaptations of Macbeth: Orson Welles's "Voodoo Macbeth" (Federal Theater Project, New York, 1936); Welcome Msomi's uMabatha, the Zulu Macbeth (q.v.), and Brett Bailey's adaptation of Verdi's opera (q.v.). Shows how theatre can uncritically portray Africa as a single, primitive, location. Calls for thoughtful productions to "Africanize" Shakespeare.

Juxtaposes Botho Strauss's adaptation of Midsummer Night's Dream, Der Park (q.v.), and Heiner Müller's "more tangentia[l]" adaptation, Waldstück [Forest Play] (1969, q.v. publication); "the one epitomizing West German, the other East German, predicatments; the one with a high culture agenda, the other subscribing...to working class realism and social engagment." Focuses on portrayal of Oberon, Titania, and forgetting in both plays, suggesting that these productions present "anachronic Shakespeare," that encourages us to consider Shakespeare's "contemporaneity. Compares both German adaptations with Nicholas Hytner's 2019 production (q.v.).

Presents interview with Keith Hamilton Cobb, author of American Moor (q.v.). "Attempt[s] to point towards something other than inclusion without influence in staging Shakespeare."

Shows that John Heminges and his family lived at the Globe tenement. "Suggests that the company was operating a more extensive leisure hub than conventionally supposed and was using an early form of 'brand identity' to advertise the playhouse, broaden its economic reach, and facilitate the arrival and immediate capture of London patrons on busy Bankside," with the Globe Tavern serving theatregoers and company members, with accommodation possibly available at Globe Rents.

Traces connections between John Fletcher and Shakespeare's first folio, pointing to Fletcher's "allusions to previously unpublished Shakespeare plays"; the publication of Henry VIII (co-written with Fletcher) in the folio; "references to Fletcher's ... Woman Pleased in the surviving Folio-only text of Taming of the Shrew"; and Fletcher's "Hispanophilia" and how it relates to the folio.

"Collat[es] and analyz[es] the hundreds of watermarks found across many extant [first] Folio copies." Drawing on watermark evidence, argues for a print run of about 1200 copies for the first folio. 

Reveals that burnt and damaged copy of Edwin Forrest's folio encased in glass "reliquary" is not, as previously believed, the first folio, but rather, the third. Traces past provenance and identification of folio by Horace Howard Furness and others. Argues for cataloguing as iterative act that allows for "archival discovery."