Shakespeare

Director and educator Jessica Bauman writes about her experience teaching theatre in a refugee camp in Kenya.

Playwright Mia McCullough discusses how teaching classic plays in high school alienates future young audiences, and advocates for contemporary playwrights to craft comprehensive anthologies of their work. 

Shari Caplan on Love’s Labour's Lost as performed by The Commonwealth Shakespeare Company in Boston, Massachusetts.

Josh Platt on The Merchant of Venice directed by Tina Packer in Lenox, Massachusetts. 

Maegan Clearwood on the all-male production of Taming of the Shrew, directed by Ed Sylvanus Iskandar at the Shakespeare Theatre Company in Washington, DC.

Shelby-Allison Hibbs collects thoughts from Dallas theatremakers about the sustainability of the city’s theatre scene.

An interview between Michael Lueger and MOLA archeologists Heather Knight and Julian Bowsher about the recent excavation of the Curtain Theatre in London.

Renaissance scholar Nora J. Williams discusses the #Shakespeare400 celebrations, and the myth that Shakespeare is the “greatest playwright” in the English language.

Director Cristy Andrea Altamirano seeks thoughts on an upcoming production of The Tempest.

Shari Caplan on Sans Everything by Strange Attractor Theatre at the Charlestown Working Theatre in Boston, Massachusetts. 

In this installment, Matthew Minnicino discusses gender politics in Shakespeare’s work, and productions of King Lear with women starring in the title role.

In the final installment of our series on Cornerstone’s California Bridge Tour, actor Page Leong writes about her personal connection to two of the communities the company visited.

Patrick Walsh discusses his work within the prison Two Rivers Correctional Facility and how it revived him and his commitment to theatre.

Daniel Penilla, Assistant Director for Cornerstone’s California: The Tempest tour, describes the process of bringing the show to life in different communities every few weeks.

Erin Butcher writes about the difficult experiences she faced producing a show in a public park with an all-female cast and crew. 

Actor and writer Eli Keel reflects on his introduction to Shakespeare and advocates translation for new audiences.

Lue Douthit, director of literary development at Oregon Shakespeare Festival, discusses the history and rationale of the Play on! Project with OSF to translate 39 of Shakespeare’s plays.

Isaac Jacobs does an in-depth analysis of the backbone of Mark Antony in Shakespeare’s Julius Caesar.

Director Emma Went interviews international arts activist Lisa Wolpe about the origins and ethos of TranShakespeare.

Dana Sayre illuminates the parallels between popular television series Scandal and Empire and the works of Shakespeare, arguing that their popularity shows television embracing a more theatrical style. 

Blair Ruble addresses the recent criticism of Synetic Theater’s artistic adaptations of Shakespeare.