If anyone has any proposals that could fit this, send them to Alyson- there's a great editorial team behind this. www.alyson-campbell.com/book-series-...
Book Series on Queer Performance: Call For Proposals — Alyson Campbell
alyson-campbell.com
Dr. Benjamin Broadribb
@benbroadribb.bsky.social
Performance Reviews Editor for Shakespeare Bulletin | Shakespeare on screen(s) | Shakespop | metamodernism | performance | adaptation | cinema | theatre | he/him/his
If you’re at #WSC2026 @wsc2026verona.bsky.social come along to the Museum of Natural History at 11:15am on Thursday to hear more about the New Variorum Shakespeare! Our speakers include Prof. Sonia Massai, Dr. Robert Stagg, Dr. Dorothy Todd and Prof. Paul Werstine.
#WSC2026 underway in style in the stunning #Verona! What a SITE for a Shakespeare conference!! For anyone in search of a #relevant FREE BOOK my new Cambridge Element is available online until 23 July, and pairs perfectly with an aperol spritz 🥂 cup.org/4pjI8R6
Site-Specific Shakespeare
Cambridge Core - Renaissance and Early Modern Literature - Site-Specific Shakespeare
cup.org
I'm in Verona all this week for @wsc2026verona.bsky.social, so if you're here too please come and say hello - it's great to meet both prospective @shaxbull.bsky.social performance reviewers, and also those who've already written reviews for me and put faces to names and emails! #WSC2026 #Shakespeare
Laurie Maguire reviews the Bridge Theatre’s 2025 production of Richard II, directed by Nicholas Hytner 🎭: www.bridgetheatre.co.uk/whats-on/ric... 📰: muse.jhu.edu/article/992527 📷: Manuel Harlan
Michael W. Shurgot reviews Seattle Shakespeare Company and A Contemporary Theatre’s 2025 production of Twelfth Night, directed by Annie Lareau 🎭: www.unionartscenter.org/twelfth-night/ 📰: muse.jhu.edu/article/992532 📷: Howard Shack
Kim Gauthier reviews Théâtre du Nouveau Monde/Théâtre du Trident’s 2025 production of Othello, adapted and translated by Jean Marc Dalpé, directed by Didier Lucien 🎭: www.letrident.com/piece/othello/ 📰: muse.jhu.edu/article/992525 📷: Stéphane Bourgeois
Sheila T. Cavanagh reviews the 2025 production of Othello, directed by Kenny Leon 🎭: www.ethelbarrymoretheatrenyc.com/othello-at-t... 📰: muse.jhu.edu/article/992526 📷: Julieta Cervantes
Suzy Lawrence reviews Shakespeare’s Globe’s 2025 production of Cymbeline, directed by Jennifer Tang 🎭: www.shakespearesglobe.com/whats-on/cym... 📰: muse.jhu.edu/article/992523 📷: Marc Brenner
Shehrazade Zafar-Arif reviews Shakespeare’s Globe’s 2025 production of The Merry Wives of Windsor, directed by Sean Holmes 🎭: www.shakespearesglobe.com/whats-on/the... 📰: muse.jhu.edu/article/992531 📷: Marc Brenner
Ceola Daly reviews Stratford East and Sadler’s Wells East’s 2025 production of Romeo & Juliet, directed by Emily Ling Williams and Malik Nashad Sharpe 🎭: www.sadlerswells.com/romeo-and-ju... 📰: muse.jhu.edu/article/992528 📷: Charlie Flint
Henry MacCarthy reviews Iceland Dance Company’s 2025 production of Romeo and Juliet—Up Close, choreographed by Erna Ómarsdóttir and Halla Ólafsdóttir 🎭: id.is/en/romeo-jul... 📰: muse.jhu.edu/article/992529 📷: Hörður Sveinsson
Erika D’Souza reviews the Stratford Shakespeare Festival’s 2025 production of Macbeth, directed by Robert Lepage 🎭: www.stratfordfestival.ca/whatson/play... 📰: muse.jhu.edu/article/992524 📷: David Hou
![An image of Macduff (Tom Rooney) and Macbeth (Tom McCamus) facing off in the parking lot, with a motorcycle between them. The man on the left, Macduff, has pale skin, shoulder-length blonde/graying hair, and a long beard. He is wearing jeans and a black leather vest that has a skull with red and orange wings on the back. He is wearing flannel under his vest and a red bandana tied around his forehead. He has a knife in his hand, pointing at the man across from him. The man on the right, Macbeth, has pale skin, white hair, and gray stubble. He is wearing a plain black leather jacket and black pants, with his hands open in front of him. Below the image is the text “[This Macbeth] valorized the very masculine hyperbole it portrayed: the violence, the bravado, the aesthetic. By adopting the trappings of '90s motorcycle gangs without any self-awareness or critical distance, the production seemed intent on celebrating a particularly toxic version of masculinity rather than interrogating it.”. The image and the text are over a blue background with the SB logo.](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:sopgsks5ttyonu7quuyavquu/bafkreib6dtiik7v2c3ewvmhka25rrnxgvtnegoehgpt5zuwubvthopkk2m)
Dympna Callaghan reviews Edward’s Boys’ 2025 production of The Enterlude of the Godly Queen Hester, directed by Perry Mills 🎭: edwardsboys.org.uk/productions/... 📰: muse.jhu.edu/article/992530 📷: Bea Baldwin
![An image of Hester (Rufus Round), a boy in a white shirt with gold jewelry around his neck, wearing a dark, shoulder-length curly wig and an ornate gold crown with diamonds along the outside. He is the focus of the photo but he has the audience in front of him and behind him, as if he is walking down an aisle. His mouth is parted as if he is speaking to them. Below the image is the text “The revival after almost five hundred years of a now-obscure Tudor court performance that depicts, in ragged rhyme, the biblical Esther would present a challenge to even the most accomplished professional troupe of actors. Not so for the intrepid Edward’s Boys [. . .] These players succeeded in bringing to life the most consequential political and personal crisis in the reign of Henry VIII, when England was in the traumatic throes of the Protestant Reformation.”. The image and the text are over a blue background with the SB logo.](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:sopgsks5ttyonu7quuyavquu/bafkreidypcsdmqjdlsptvlaci66rbdtjviymferdp6fmo7qzis4ju2epai)
Hannah L. Wilson reviews the Royal Shakespeare Company’s 2025 production of Born With Teeth, directed by Daniel Evans 🎭: www.rsc.org.uk/born-with-te... 📰: muse.jhu.edu/article/992522 📷: Johan Persson
![An image of Christopher “Kit” Marlowe (Ncuti Gatwa) and William “Will” Shakespeare (Edward Bluemel) sitting at a wooden table at the center of the stage. The man on the left, Kit, is dark skinned, with short black hair, and he is wearing dark brown leather pants with a high collared matching jacket. He is leaning over the table with one knee on a stool and one hand braced against the table, leaning towards the other man. The man on the right, Will, has pale skin, light brown hair that is in slight disarray, and he is sitting on a stool facing the other man. He is wearing light brown leather pants, a white flowy shirt, and a brown vest. He is holding a quill in his hand. Below the image is the text “Inspired by the New Oxford Shakespeare editors’ conclusion that “Marlowe had collaborated with Shakespeare on the three Henry VI history plays”, Liz Duffy Adams offered an imagined representation of the playwrights’ processes and personal relationship [. . .] At ninety minutes without an interval, it was a fast-paced, quick-witted, ironic, sexy, and surprisingly emotional glimpse into lost moments in history.”. The image and the text are over a blue background with the SB logo.](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:sopgsks5ttyonu7quuyavquu/bafkreieeeica5kxtsmezbqg5i3wqspas2xu7n75ageyvsbh7ay62p7krta)
Edel Semple reviews the Bridge Theatre’s 2025 production of A Midsummer Night’s Dream, directed by Nicholas Hytner 🎭: www.bridgetheatre.co.uk/whats-on/a-m... 📰: muse.jhu.edu/article/992521 📷: Manuel Harlan
Today’s Extra Credit focuses on Nora Williams’s “Four Women on A Two Woman Hamlet: An Interview with Marina Cusí, Deanna Strasse, and Sharmila Peake”. Check out these open-access resources to go along with this open-access article! 📰: muse.jhu.edu/article/992519
Today’s Extra Credit focuses on Perry Mills and Janice Valls-Russell’s “Edward’s Boys and the Educational Value of Ensemble”. Check out these open-access resources to go along with this open-access article about @edwardsboys.bsky.social 📰: muse.jhu.edu/article/992518
The first day of @samemes.bsky.social at @unifr.bsky.social is underway! Opening remarks from Honor Jackson, Elizabeth Dutton and Killian Schindler emphasise how the conference theme, 'Tolerance and Dissent', remains a volatile topic and one that is sadly as relevant as ever today. #SAMEMES2026
Today’s Extra Credit focuses on Kevin Ewert’s “Playable Whiteness; or, My Week As Iago”. Check out these open-access resources to go along with this open-access article! All resources are included in the link in our bio. 📰: muse.jhu.edu/pub/1/articl...
Today’s Extra Credit focuses on Alice Dailey and Chelsea Phillips’s “Making (Ambitious, Impractical, Interdisciplinary) Dreams Come True: The Spanish Tragedy at Villanova”. Check out these open-access resources from Alice & @chelseaphillips.bsky.social 📰: muse.jhu.edu/pub/1/articl...
Wishing everyone at @britgrad.bsky.social a fantastic first day of the conference! At last year's BritGrad, @norajw.bsky.social and I led a publishing workshop - the response was fantastic, and led to several performance reviews from PGRs/ECRs being published in @shaxbull.bsky.social #BritGrad2026
British Graduate Shakespeare Conference@britgrad.bsky.social · last yr.In our next workshop, @benbroadribb.bsky.social and @norajw.bsky.social are presenting a practical guide to getting published! Tickets still available here bit.ly/4dP3IqQ
SB 44.1 is out now and fully Open Access! 🎉 The Performance Reviews section features reviews from @edelsemple.bsky.social, Hannah L Wilson, Dympna Callaghan, Henry MacCarthy, Ceola Daly, Erika D'Souza, Shehrazade Zafar-Arif, Sheila T Cavanagh, @teamaufidius.bsky.social, Suzy Lawrence 1/2
Shakespeare Bulletin@shaxbull.bsky.social · 2mo agoNEW ISSUE KLAXON: Shakespeare Bulletin 44.1 is now published via Project Muse! Find the first issue of a planned two-part issue featuring scholar-practitioners reflecting on their rehearsal room work in educational and professional contexts. Check it out here 📰: muse.jhu.edu/issue/57024
The issue continues with twelve performance reviews, including two Romeo and Juliets, both alike in their incorporation of dance. The other reviews range from Stratford Shakespeare Festival’s Macbeth to Edward’s Boys’ The Enterlude of the Godly Queen Hester.
NEW ISSUE KLAXON: Shakespeare Bulletin 44.1 is now published via Project Muse! Find the first issue of a planned two-part issue featuring scholar-practitioners reflecting on their rehearsal room work in educational and professional contexts. Check it out here 📰: muse.jhu.edu/issue/57024
We'd like to invite you to join our newsletter mailing list! If you subscribe, you'll receive a newsletter with the release of each new issue detailing the articles and reviews you'll find in this edition. Join us here: confirmsubscription.com/h/i/80DC405C..., or by scanning the QR code below!
streaming theatre tip: June 1-17 reading of my new play WAR PAINTING is free on demand. directed by Jackson Gay. rsvp required. @lorteltheatre.bsky.social lortel.org/war-painting/
War Painting - Lucille Lortel Theatre
lortel.org
Terri Bourus reviews The Public Theater's 2025 production of Twelfth Night, directed by Saheem Ali 🎭: publictheater.org/productions/... 📰: muse.jhu.edu/article/985859 📷: Joan Marcus
![An image of Maria (Daphne Rubin-Vega), Sir Andrew Aguecheek (Jesse Tyler Ferguson), Sir Toby Belch (John Ellison Conlee), and Fabian (Kapil Talwalkar) hiding behind giant green block letters while Malvolio (Peter Dinklage) reads a letter centerstage, with the text “The ninety-minute performance I saw gave the play a happier ending than Shakespeare's text. Like the earlier transformation of the sword fight between Aguecheek and Cesario/Viola into an entirely ridiculous boxing match, [Malvolio’s final exit] turned even the potential for pain into uncomplicated pleasure.” over a green background with the SB logo.](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:sopgsks5ttyonu7quuyavquu/bafkreihxeqtfutbeukvskra2efok7ihyjub6bxk3zorvzgson3wzfpfs3y)