Kibria Nasir reviews National Theatre’s 2025 production of Hamlet, directed by Robert Hastie 🎭: N/A www.ntathome.com/hamlet-1 📰: muse.jhu.edu/article/998119 📷: Sam Taylor
![A brown-skinned man, Hamlet (Hiran Abeysekera), with full, dark curls and red nail polish is sitting center stage, bathed in white light. He is wearing a cream-colored sweatshirt with the blue and yellow Blockbuster Video logo on the front and long dark-brown pants. He has one hand on his lap and another in the shape of a gun, pointing at his temple. He is looking up and to the left, with his eyebrows raised and his mouth open as if mid-speech. Below the image is the text “[T]he production captured a recognizably modern pressure: the strain of being constantly looked at and rehearsing oneself for that gaze. What Hastie's Hamlet ultimately offered was less a search for a singular, interior tragic essence than an exploration of the ethics of being watched.”. The image and the text are over an orange background with the SB logo.](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:sopgsks5ttyonu7quuyavquu/bafkreifbhnrpraq4aarxfs46nkqz3nkckavzvulpte2zdptbyeywdw2mzu)
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
Isobel Strevens reviews Focus Features and Universal Pictures’ 2025 production of Hamnet, directed by Chloé Zhao 📰: muse.jhu.edu/article/998120
![The text “In both novel and film form, Hamnet makes a concerted effort to decenter Shakespeare by bringing his family into the foreground alongside him [. . .] Shakespeare—referred to throughout just as Will (Paul Mescal)—is not alone in his parental grief. Buckley's portrayal of Agnes, Will's wife, confronts the viewer with unflinchingly raw maternal pain, anger, and self-castigation following the death of her son. Hamnet brings Agnes Shakespeare into the foreground alongside her husband to offer a nuanced and heartbreaking portrayal of grief for the loss of a child.” over an orange background with the SB logo.](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:sopgsks5ttyonu7quuyavquu/bafkreigks3k64yyqfcjxwvrv3iuzu6glmsc4k4c5mstobyq5ygybuiszl4)
Today’s Extra Credit focuses on Roweena Yip’s “Teaching A Midsummer Night’s Dream as a Global Narrative”. Check out these open-access resources to go along with this open-access article! 📰: muse.jhu.edu/article/998117
Today’s Extra Credit focuses on Bailey Sincox’s “Much Ado, Anyone But You, and Adapting the “Merry War”: An Interview with Screenwriter Ilana Wolpert”. Check out these open-access resources to go along with this open-access article! 📰: muse.jhu.edu/article/998118
Bri Webber reviews Royal Shakespeare Company’s 2025 production of Measure for Measure, directed by Emily Burns 🎭: www.rsc.org.uk/measure-for-... 📰: muse.jhu.edu/article/998123 📷: Helen Murray (Measure for Measure)
Terri Bourus reviews the Shakespeare Theatre Company’s 2025 production of Merry Wives, directed by Taylor Reynolds 🎭: www.shakespearetheatre.org/index.php/ev... 📰: muse.jhu.edu/article/998124 📷: Teresa Castracane Photography (Merry Wives)
So excited to feature in @shaxbull.bsky.social again for my review of ‘Hamnet’! Thanks to @benbroadribb.bsky.social for all his support as always🌟
Dr. Benjamin Broadribb@benbroadribb.bsky.social · 2w agoSB 44.2 is out now and fully Open Access 🎉 The performance reviews section features fantastic pieces from @terribourus.bsky.social, @izzistrevens.bsky.social, @briwebber.bsky.social, Kailey Potter, Kibria Nasir, Nick Trusty, Jo Jones, Arushi Grover, @teamaufidius.bsky.social 1/
SB 44.2 is out now and fully Open Access 🎉 The performance reviews section features fantastic pieces from @terribourus.bsky.social, @izzistrevens.bsky.social, @briwebber.bsky.social, Kailey Potter, Kibria Nasir, Nick Trusty, Jo Jones, Arushi Grover, @teamaufidius.bsky.social 1/
Shakespeare Bulletin@shaxbull.bsky.social · 3w agoNEW ISSUE KLAXON: Shakespeare Bulletin 44.2 is now published via Project Muse! Check it out here 📰: muse.jhu.edu/issue/57436
NEW ISSUE OUT NOW Shakespeare Bulletin 44.2, Summer 2026 #S2O #OpenAccess @ProjectMUSE tiny.one/ty32ef4v CONTRIBUTORS Hailey Bachrach Roweena Yip Bailey Sincox Terri Bourus Isobel Strevens Bri Webber Kailey Potter Kibria Nasir Nick Trusty Jo Jones Arushi Grover Kim Gauthier and more
NEW ISSUE KLAXON: Shakespeare Bulletin 44.2 is now published via Project Muse! Check it out here 📰: muse.jhu.edu/issue/57436
Today’s Extra Credit focuses on Hailey Bachrach’s “Consent and Shakespearean Dramaturgy: Towards a New Tool for Actor Empowerment”. Check out these open-access resources to go along with @bachrach.bsky.social's open-access article! 📰: muse.jhu.edu/pub/1/articl...
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
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
