Shakespeare

By showing that Othello has similar content to her poetry, and Emilia bears multiple resemblances to Amelia Bassano herself, "Writing Othello" makes the case that the "dark lady" had a hand in crafting this play. It translates academic research into practical performance on stage.

Allison Vanouse reviews the 2013 Actor's Shakespeare Project production of Romeo and Juliet, directed by Allyn Burrows and Bobbie Steinbach at the Strand Theatre in Dorchester.

Lily Janiak reviews the Repurposed Theatre production of Rachel Luann Strayer’s Drowning Ophelia.

Patricia Davis reviews Taffety Punks' production of the unproducable: a humorous interpretation of Titus Andronicus, presented by the all-female Riot Grrrls.

According to the LA Stage Alliance, there are about 25 female artistic directors in the greater-Los Angeles area. Though I was initially cheered, that number, it turns out, represents only about 8 percent of Los Angeles' artistic directors.

The Donmar Warehouse's all-female production of Julius Caesar encloses the story into a women’s prison to bring to light contemporary commentary on freedom and betrayal.

Thea Rodgers challenges us to feel more deeply – and to produce Shakespearean productions that embrace the full depth and breadth of human emotion.

Holly L. Derr writes about different all-female productions of Shakespeare's plays and how this opens up further opportunities for discussion about gender, relationships, and the timelessness of the stories.

Allison Vanouse examines Shakespeare & Company's start to their history cycle: Richard II. She argues that Shakespeare's history plays work best when they speak to our contemporary concerns.

Victoria Tucci reflects on her time producing queered adaption of Romeo & Juliet, Juliet & Romeo, in the wake of the Marc Carson murder.

A conversation about the implications and discoveries made when putting Romeo and Juliet in the frame of a same-sex relationship.