Ah, because of course what structural issues can’t be resolved with a free chair massage and a reminder to get good sleep?
It’s also how you play it. I used to get tons of engagement on X, then took a long break from it, and when I came back and started posting again, no-one was seeing them - the algorithm only works if you keep up momentum. BlueSky is tricky because it’s purely chronological - you miss it, you miss it.
This and “Ian McKellan” are almost ubiquitous as misspellings in academic writing and it drives me nuts.
Eleanor Glasspool reviews the Royal Shakespeare Company’s 2025 production of Hamlet, dir. Rupert Goold
🎭: www.rsc.org.uk/hamlet/reviews
📰: muse.jhu.edu/article/981812
📷: Marc Brenner
Elizabeth Klett reviews 4th Wall Theatre Company’s 2025 production of Bedlam’s Hamlet, dir. Kim Tobin-Lehl
🎭: www.4thwalltheatreco.com/hamlet
📰: muse.jhu.edu/article/981810
📷: Gabriella Nissen
![An image of Margaret 3 (Kathleen Akerley), King Edward IV (Kiana Johnson), Henry VI (Samuel Richie), The Chorus (Stephen Kime), Richard III (Devin Nikki Thomas), Margaret 1 (Alyssa Sanders), and Margaret 2 (Sara Barker) clumped together, with the text “In this instance, Séamus Miller placed Margaret center stage in an adaptation that merged scenes from the various plays she inhabits. Notably, however, Avant Bard split the role of Margaret in The Margriad between three powerful and adept performers: Alyssa Sanders, Sara Barker, and Kathleen Akerley [...] They each presented a formidable Margaret, who fairly seamlessly morphed into the Queen at various stages of her life.” over a purple background with the SB logo.](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:sopgsks5ttyonu7quuyavquu/bafkreiamuwxdgia4zcxe6weujikqjagv4lqkdabxozpah6uwvsnwu4rmfm)
Sheila T. Cavanagh reviews Avant Bard Theatre’s 2025 production of The Magriad, or, The Tragedy of Queen Margaret, adapted and directed by Séamus Miller
🎭: avantbard.org/project/the-...
📰: muse.jhu.edu/article/981816
📷: DJ Corey Photography
Terri Bourus reviews Theatre for a New Audience’s 2025 production of Henry IV, adapted by Dakin Matthews and directed by Eric Tucker
🎭: tfana.org/events/henry...
📰: muse.jhu.edu/article/981813
📷: Gerry Goodstein
![An image of Anne (Vitriolplays) and Richard (Jonathan Thomas) in the post-apocalyptic online world of Fallout 76, with the text “I saw [The Wasteland Theatre Company’s] take on Richard as a ghoul as being sympathetic to the disability conversations surrounding the play, and at the same time, a thought-provoking reading of Richard’s charismatic and ghoulish nature. Nevertheless, a video game Richard III production raises important questions surrounding performance ethics in virtual spaces.” over a purple background with the SB logo.](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:sopgsks5ttyonu7quuyavquu/bafkreifnkdswdzn5tytsju77n6g6ok5ccaxiivlqgdnzrgitzx6tbsaij4)
Remson DeJoseph reviews The Wasteland Theatre Company’s 2024 production of Richard the Ghoul, dir. Jonathan Thomas
🎭: www.wastelandtheatre.com/director-s-b...
📰: muse.jhu.edu/article/981814
📷: Jessica-Star Hussiere
Connie Newstead reviews the Royal Shakespeare Company’s 2025 production of Edward II, dir. Daniel Raggett
🎭: www.rsc.org.uk/edward-ii/
📰: muse.jhu.edu/article/981811
📷: Helen Murray
Definitely wasn’t a film which experienced anxiety about historical accuracy…
As in, moody, committed to the bit, mildly dangerous, always the main character?
Feel like the word “exclusive” risks losing its meaning somewhat in being attached to this piece. www.theguardian.com/stage/2026/f...
![An image of Shylock (Richard Topol) in a cape, fedora, and disguise glasses, with the text “Golyak conceived his production of The Merchant of Venice as a play-within-a-television-show [...] That framework created an opportunity to depict Shylock as an object of scorn and derision, yet also challenge that hateful objectification, since it was never quite clear to what extent the story being told was that of the television show or the play-within-the-show.” over a purple background with the SB logo.](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:sopgsks5ttyonu7quuyavquu/bafkreihhlf35p7kflpbsva4hgdrog2kuwz6emxmsa2uwszvr6o7ucyfxqq)
Justin B. Hopkins reviews Arlekin Player’s 2024 production of The Merchant of Venice, adapted and directed by Igor Golyak
🎭: www.merchantofveniceplay.com
📰: muse.jhu.edu/article/981817
📷: Pavel Antonov (The Merchant of Venice)
![The text “While Lloyd’s Tempest ventured to explore Shakespeare’s world among the stars, the storm of [Just Stop Oil’s] stage invasion brought the production crashing back to earth amidst the burning climate issues of our own planet. The events at the Theatre Royal Drury Lane ultimately raised the question: were Caliban and JSO working against each other, or are they fighting on the same side?” over a purple background with the SB logo.](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:sopgsks5ttyonu7quuyavquu/bafkreihdtvcmfb26py6inkouy7ma6phvbzdpkhnrcjkjnergdlebpvzfs4)
Laurie Higgins reviews The Jamie Lloyd Company’s 2024-25 production of The Tempest, dir. Jamie Lloyd
🎭: thejamielloydcompany.com/productions/
📰: muse.jhu.edu/article/981819
![An image of Mistress Page (Leah Gabriel), Mistress Quickly (Angela Iannone), and Anne Page (Summer England) dancing in masks, with the text “[This production] tested the limits of my conceptual senses and forced me to lean forward, engage, and see these eight people not as a cast of actors hectically changing costumes and voices, but as an ensemble; a community of skilled performers who contain multitudes and are capable of holding space for complex—and at times contradictory—identities.” over a purple background with the SB logo.](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:sopgsks5ttyonu7quuyavquu/bafkreibrvrxtkft5ch6f6s53vbvgya35h7iob3aknn6m4giiggpvgcm7ti)
Joan Raube-Wilson reviews the American Shakespeare Center’s 2024 production of The Merry Wives of Windsor, dir. Dawn Monique Williams
🎭: americanshakespearecenter.com/events/merry...
📰: muse.jhu.edu/article/981819
📷: October Grace Media
An algorithm wrote and directed this film specifically for you.
Moll Cutpurse, in Dekker and Middleton's The Roaring Girl, as "catalytic converter"! Read more in Sheila Coursey's essay published in our most recent Issues in Review on "Drama and Conversion," edited by @swittek.bsky.social (ET 28.2, Dec 2025).
Access here: buff.ly/Odmf7UH
Hey! Scholars! If you're using someone's work in your class, sometimes it's nice to email them and tell them, because then they might feel good about their research instead of entirely crushed by the academic humanities' ongoing descent into the grave
Curious about how a 360 view of Shakespeare’s Globe is captured? A virtual tour is provided here, used exclusively as a resource in Globe teaching workshops: www.shakespearesglobe.com/learn/school...
Pye’s book, Unearthing Shakespeare: Embodied Performance and the Globe, is now open access at the Routledge website! Flip to Chapter 2 “Examining the Globe” or Chapter 7 “Energizing the Language” for the work that inspired her Shakespeare Bulletin article: www.taylorfrancis.com/books/oa-mon...
Today’s Extra Credit focuses on Valerie Clayman Pye’s article ““I have thee not, and yet I see thee still”: Shakespeare’s Globe, Augmented Reality, and Actor Training”. Check out these open-access resources to go along with this open-access article!
📰: muse.jhu.edu/pub/1/articl...
I propose to make universal the old policy of the Blackfriars conference at the American Shakespeare Center:
If you do not end your paper on time, you will be forced to exit, pursued by a bear. Literally, a bear will come take your paper from you.
As one of the conference organisers, delighted to report that this very much remains our policy!
Oooh! So pleased to see Ellie Collins’ book out in our series!! Such wonderful repertory work!
manchesteruniversitypress.co.uk/9780719090868/
CC @shakesinstitute.bsky.social
… specific replicable effects are achieved reliably each time.
I feel like this is endemic to a lot of pop music, like people going to see Taylor Swift concerts over and over to see reproduction, in ways that Auslander talks about in Liveness. The differences also get a lot of attention, but I’m fascinated by eg all the videos of fans trying to work out how …
Starting today!
(although, very regrettably, due to a recent change in university policy we are no longer able to stream the conference live on Zoom)
Delighted to announce the launch of a new seminar - Race and the Early Modern - in collaboration with @folger.edu.
A monthly, transatlantic, online seminar for research on race, racialisation, and racemaking across #earlymodern Studies.
Sign up to attend!
kingsearlymodern.co.uk/race-and-the...
American liberal arts educations!
