Folger Shakespeare Library: Shakespeare Unlimited

Judith Shakespeare’s life is a mystery. While history records her as the younger daughter of William Shakespeare and Anne Hathaway, much of her story remains untold. In her new novel, The Owl Was a Baker’s Daughter, author and Shakespeare scholar Grace Tiffany brings Judith to life—filling in the gaps with adventure, resilience, and rebellion. A sequel to My Father Had a Daughter, this novel follows Judith into later adulthood. No longer the headstrong girl who once fled to London in disguise to challenge her father, she is now a skilled healer and midwife. However, when she is accused of witchcraft, she must escape Stratford and navigate a world where Puritans have closed playhouses, civil war splits England, and even her father’s legacy is at risk. Tiffany explores how she merged fact and fiction to reimagine Judith’s life. From the real-life scandal that shook her marriage to the theatrical and political disturbances of her time, the author examines what it means to write historical fiction—and how Shakespeare’s life and legacy continue to inspire new stories. Grace Tiffany is a professor of Shakespeare and Renaissance Drama at Western Michigan University. She has also taught Shakespeare at Fordham University, the University of New Orleans, and the University of Notre Dame, where she obtained her doctorate. She is also the author of My Father Had a Daughter and The Turquoise Ring. From the Shakespeare Unlimited podcast. Published March 25, 2025. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the executive producer. It was edited by Gail Kern Paster. We had help with web production from Paola García Acuña. Leonor Fernandez edits our transcripts. Final mixing services are provided by Clean Cuts at Three Seas, Inc.

Transcribed - Published: 25 March 2025

How does Shakespeare’s King Lear resonate in a world facing climate catastrophe? Novelist Julia Armfield explores this question in Private Rites, a novel set in a near-future London reshaped by rising sea levels. Following three sisters grappling with their father’s death, Private Rites weaves together themes of inheritance, power, and familial wounds—echoing Shakespeare’s tragic monarch while carving out a distinctly modern, queer perspective. Armfield, author of Our Wives Under the Sea, discusses her fascination with disaster narratives, the inescapable dynamics of sibling relationships, and how Shakespeare’s work inspires her storytelling. From the storm in King Lear to the watery depths of her fiction, she reflects on how queerness, horror, and the climate crisis intersect in literature. Julia Armfield is a fiction writer living in London with her wife and cat. Her work has been published in Granta, The White Review, and Best British Short Stories in 2019 and 2021. In 2019, she was shortlisted for the Sunday Times Young Writer of the Year Award. She was longlisted for the Deborah Rogers Award in 2018 and won the White Review Short Story Prize in 2018 and a Pushcart Prize in 2020. She is the author of salt slow, a collection of short stories, which was longlisted for the Polari Prize in 2020 and the Edge Hill Prize in 2020. Her debut novel, Our Wives Under The Sea, was shortlisted for the Foyles Fiction Book of the Year Award in 2022 and won the Polari Prize in 2023. Her second novel, Private Rites, was longlisted for the inaugural Climate Fiction Prize in 2024. From the Shakespeare Unlimited podcast. Published March 11, 2025. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the executive producer. It was edited by Gail Kern Paster. We had help with web production from Paola García Acuña. Leonor Fernandez edits our transcripts. Final mixing services are provided by Clean Cuts at Three Seas, Inc.

Transcribed - Published: 11 March 2025

What if Gertrude had more power than we thought? What if Ophelia’s fate wasn’t sealed from the start? And what does it really mean to mother a prince who might be losing his mind? Playwright Lauren Gunderson, one of the most produced living playwrights in America, takes on Hamlet in her latest play, A Room in the Castle. This sharp, feminist reimagining follows Ophelia, her handmaid, and Queen Gertrude as they navigate the dangers of Elsinore, wrestling with the weight of survival, duty, and defiant hope in the face of chaos. Gunderson, known for her witty and powerful storytelling in The Book of Will and The Half-Life of Marie Curie, discusses how she reclaims the voices of Hamlet‘s women, why Gertrude’s famous speech about Ophelia’s drowning might not be as simple as it seems, and how she crafted new ending that brings new light to Shakespeare’s most famous tragedy. >> Get your tickets to Folger Theatre’s A Room in the Castle, a co-production with Cincinnati Shakespeare Company, on stage March 4 – April 6

Transcribed - Published: 24 February 2025

How did early modern England understand race and how has that influenced our thinking? Race is often considered a recent construct, but Shakespeare’s works—both his plays and poetry—reveal a diverse world already aware of race, identity, and difference. In this episode, Patricia Akhimie, editor of The Oxford Handbook of Shakespeare and Race, discusses the growing field of study and what we can learn from it. She is joined by two of the scholars contributing essays to the guide, Dennis Britton and Kirsten Mendoza, who are exploring the ways race, gender, and power intersect in Shakespeare’s long narrative poems. Britton examines Venus and Adonis, investigating how Shakespeare’s portrayal of beauty, fairness, and desire upends traditional thinking about sexuality and race. Mendoza focuses on human rights in The Rape of Lucrece, revealing how Shakespeare’s use of color symbolism exposes early modern ideas about race, gender, and bodily autonomy. Both scholars illuminate how Shakespeare’s works have encoded ideas about race, which continue to resonate today. The Oxford Handbook of Shakespeare and Race is an essential resource for scholars, teachers, students, and readers interested in this important area of Shakespeare research. Patricia Akhimie is Director of the Folger Institute at the Folger Shakespeare Library, Director of the RaceB4Race Mentorship Network, and Associate Professor of English at Rutgers University-Newark. She is editor of the Arden Othello (4th series), author of Shakespeare and the Cultivation of Difference: Race and Conduct in the Early Modern World and, with Bernadette Andrea, co-editor of Travel and Travail: Early Modern Women, English Drama, and the Wider World. Dennis Austin Britton is an Associate Professor of English at the University of British Columbia. His research interests include early modern English literature, Protestant theology, premodern critical race studies, and the history of emotion. He is the author of Becoming Christian: Race, Reformation, and Early Modern English Romance (2014), coeditor with Melissa Walter of Rethinking Shakespeare Source Study: Audiences, Authors, and Digital Technologies (2018), and co-editor with Kimberly Anne Coles of ‘Spenser and Race’, a special issue of Spenser Studies (2021). He is currently working on a new edition of Othello for Cambridge University Press and a monograph, ‘Shakespeare and Pity: A Literary History of Race and Feeling.’ Kirsten N. Mendoza is an Associate Professor of English and Human Rights at the University of Dayton. Her first book project, ‘A Politics of Touch: The Racialization of Consent in Early Modern English Literature’, examines the conceptual ties that link shifting sixteenth- and seventeenth-century discourses on self-possession and sexual consent with England’s colonial endeavors, involvement in the slave trade, and global mercantile pursuits. Her work has appeared or is forthcoming in Renaissance Drama, Shakespeare Bulletin, The Norton Critical Edition of Doctor Faustus, Race and Affect in Early Modern English Literature, and Teaching Social Justice Through Shakespeare: Why Renaissance Literature Matters Now. From the Shakespeare Unlimited podcast. Published February 10, 2025. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the executive producer. It was edited by Gail Kern Paster. We had help with web production from Paola García Acuña. Leonor Fernandez edits our transcripts. Final mixing services are provided by Clean Cuts at Three Seas, Inc.

Transcribed - Published: 6 February 2025

How do Shakespeare’s timeless themes translate to the South Asian diaspora? Could the man from Stratford himself be reimagined as a meddling auntie? Novelist Nisha Sharma’s If Shakespeare Were an Auntie trilogy takes on this challenge, taking inspiration from The Taming of the Shrew, Much Ado About Nothing, and Twelfth Night to create contemporary romance novels set in the vibrant, close-knit world of the South Asian community. Sharma’s books explore love, identity, and social norms through characters navigating family expectations and community dynamics. These playful and poignant adaptations highlight Shakespeare’s enduring relevance while addressing modern issues like gender expectations and cultural identity. This episode explores Sharma’s creative process, her lifelong love for Shakespeare, and her approach to blending the playwright’s timeless themes with modern romance. From chaotic weddings to sharp banter, her novels reflect the humor and humanity of Shakespeare’s work while offering fresh perspectives for today’s readers. Nisha Sharma is the critically acclaimed author of YA and adult contemporary romances including My So-Called Bollywood Life, Radha and Jai’s Recipe for Romance, The Singh Family Trilogy, and the If Shakespeare was an Auntie series. Her books have been included in best-of lists by the New York Times, the Washington Post, Cosmopolitan, Entertainment Weekly, and more. She lives in Pennsylvania with her Alaskan husband, her cat Lizzie Bennett, and her dogs Nancey Drew and Madeline. From the Shakespeare Unlimited podcast. Published January 28, 2025. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the Executive Producer. It was edited by Gail Kern Paster. We had help with web production from Paola García Acuña. Leonor Fernandez edits our transcripts. Final mixing services are provided by Clean Cuts at Three Seas, Inc.

Transcribed - Published: 23 January 2025

Olivia Hussey, whose spirited portrayal of Juliet when she was just a teenager herself became iconic for generations of people watching the 1968 film adaptation of Shakespeare’s play, died on December 27, 2024. In 2019, we were lucky enough to record an interview with Hussey. To honor her life and work, we’re bringing it to you again. Olivia Hussey was just fifteen when Franco Zeffirelli cast her in Romeo and Juliet. When the film was released in October 1968, it catapulted her and Leonard Whiting, the young actor playing Romeo, to global stardom. For many Shakespeare lovers, Zeffirelli’s film is still the definitive film adaptation of the play. Fifty years after the movie’s release, Hussey’s memoir, The Girl on the Balcony: Olivia Hussey Finds Life After Romeo and Juliet, told the story of the actress’s life before, during, and after Romeo and Juliet. We talked with Hussey and asked her how she felt about Shakespeare before making the movie (“very boring”), filming the balcony scene (“I’d bump my teeth into his chin”), the endless press tour, and whether she’d do it all again. Barbara Bogaev interviews Olivia Hussey. From the Shakespeare Unlimited podcast. Originally published on January 22, 2019, and rebroadcast on January 13, 2025 © Folger Shakespeare Library. All rights reserved. This podcast episode, “Speak Again, Bright Angel,” was produced by Richard Paul. Garland Scott is the Associate Producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer; updated by Paola García Acuña. We had technical help from Andrew Feliciano and Paul Luke at VoiceTrax West in Studio City, California.

Transcribed - Published: 8 January 2025

What does it mean to be called an “upstart crow”? In 1592, a pamphlet titled Greene’s groats-worth of witte described William Shakespeare, in the first allusion to him as a playwright, with this phrase, calling him “an upstart crow, beautified with our feathers.” This phrase sparked centuries of speculation. As Darren Freebury-Jones explores in his book, Shakespeare’s borrowed feathers: How early modern playwrights shaped the world’s greatest writer, Shakespeare’s so-called borrowing was neither unusual for the time nor a weakness—it was ultimately a testament to his genius. Exploring how Shakespeare navigated a competitive theatrical scene in early modern England, Freebury-Jones reveals the ways in which Shakespeare reshaped the works of contemporaries like John Lyly, Thomas Kyd, and Christopher Marlowe into something distinctly his own. By combining traditional literary analysis with cutting-edge digital tools, he uncovers echoes of Lyly’s witty comedies and gender-bending heroines, Kyd’s tragic revenge dramas, and Marlowe’s powerful verse in Shakespeare’s early plays. This episode sheds light on Shakespeare’s role as a responsive and innovative playwright deeply embedded in the early modern theatrical community. Listen in to learn more about the influences on the “upstart crow” as he created a canon of timeless works. Dr Darren Freebury-Jones is author of the monographs: Reading Robert Greene: Recovering Shakespeare’s Rival (Routledge), Shakespeare’s Tutor: The Influence of Thomas Kyd (Manchester University Press), and Shakespeare’s Borrowed Feathers (Manchester University Press). He is Associate Editor for the first critical edition of The Collected Works of Thomas Kyd since 1901 (Boydell and Brewer). He has also investigated the boundaries of John Marston’s dramatic corpus as part of the Oxford Marston project and is General Editor for The Collected Plays of Robert Greene (Edinburgh University Press). His findings on the works of Shakespeare and his contemporaries have been discussed in national newspapers such as The Times, The Guardian, The Telegraph, The Observer, and The Independent as well as BBC Radio. His debut poetry collection, Rambling (Broken Sleep Books), was published in 2024. In 2023 he was elected a Fellow of the Royal Historical Society in recognition of his contributions to historical scholarship.

Transcribed - Published: 19 December 2024

2024 has been the year of the iconic lovers Romeo and Juliet, and director Sam Gold has brought a bold new production of the timeless tragedy to Broadway. With a fresh, contemporary approach, Gold transforms Shakespeare’s classic love story into an immersive experience that features a dynamic young cast led by Rachel Zegler (West Side Story) and Kit Connor (Heartstopper) and an innovative score by Grammy-winning musician Jack Antonoff, blending live music seamlessly into the action. Gold discusses how he re-envisioned the play for today’s world, capturing the urgency and intensity of youth while staying true to the emotional heart of the original. He reflects on the challenges and joys of reinterpreting a well-known story and shares the creative process behind staging a Romeo and Juliet that feels relevant to a whole new generation of theatergoers, many of whom may be seeing their first Broadway. Sam Gold is a Tony Award-winning director with an extensive Broadway and theater resume. His Broadway credits include An Enemy of the People (this season) with Jeremy Strong and Michael Imperioli, Macbeth with Daniel Craig and Ruth Negga, King Lear with Glenda Jackson, A Doll’s House, Part 2 (Tony Award Nomination), The Glass Menagerie, Fun Home (Tony Award), The Real Thing, The Realistic Joneses, and Seminar. Recent credits include Hamlet at The Public Theater, Othello at New York Theatre Workshop, The Flick (Lucille Lortel Award nomination) at Playwrights Horizons, Barrow Street Theatre, and the National Theatre, The Glass Menagerie (Toneelgroep, Amsterdam), John (Signature Theatre; Obie Award, Lortel and Drama Desk Award nominations), The Village Bike (MCC Theatre), and Uncle Vanya (Soho Repertory Theatre; Drama Desk nomination), among many others. From the Shakespeare Unlimited podcast. Published December 16, 2024. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the associate producer. It was edited by Gail Kern Paster. We had help with web production from Paola García Acuña. Leonor Fernandez edits our transcripts. Final mixing services are provided by Clean Cuts at Three Seas, Inc.

Transcribed - Published: 13 December 2024

What happens when a king believes he rules by divine right yet loses the trust of his people through his tyrannical actions? In this episode, acclaimed historian Helen Castor brings us into the world that inspired Shakespeare’s most celebrated history plays. Castor’s latest book, The Eagle and the Heart: The Tragedy of Richard II and Henry IV, peels back the layers of history to reveal the human drama behind a deadly royal rivalry. From Richard’s glittering but ill-fated reign to Henry’s reluctant haunted rule, this engaging discussion uncovers the timeless lessons behind the rise and fall of two kings. Packed with historical insight and fresh perspectives, this episode is a must-listen for history buffs, Shakespeare enthusiasts, and anyone curious about the delicate balance between power and duty. Helen Castor is an acclaimed medieval and Tudor historian. Her first book, Blood and Roses: The Paston Family in the Wars of the Roses, was longlisted for what is now known as the Baillie Gifford Prize for Nonfiction and won the English Association’s Beatrice White Prize. Her next two books, She-Wolves: The Women Who Ruled England Before Elizabeth and Joan of Arc: A History were both on numerous Best Books of the Year lists and made into documentaries for BBC television, and Joan of Arc was longlisted for the PEN America/Jacqueline Bograd Weld Award for Biography. She has one son and lives in London. From the Shakespeare Unlimited podcast. Published December 3, 2024. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the associate producer. It was edited by Gail Kern Paster. We had help with web production from Paola García Acuña. Leonor Fernandez edits our transcripts. Final mixing services are provided by Clean Cuts at Three Seas, Inc.

Transcribed - Published: 26 November 2024

Forget dusty textbooks and silent classrooms—the Folger Shakespeare Library has released new teaching guides designed to make the Bard’s works more engaging, accessible, and inclusive than ever before. In this episode, Peggy O’Brien, the editor behind these guides, and teachers Deborah Gascon and Mark Miazga, co-authors of the lesson plans for Romeo and Juliet and Macbeth respectively, explore how the Folger Method transforms student understanding by focusing on performance, collaboration, and creative engagement with Shakespeare’s language. The discussion also addresses how the guides tackle important topics like race and gender and how to adapt to today’s technological and social challenges, offering fresh strategies to connect with students in meaningful ways about Shakespeare and all kinds of literature. Whether you’re a teacher, a student, or simply a Shakespeare lover, this episode sheds light on innovative methods for bringing the classics to life and ensuring they remain relevant for future generations. About the Folger Guides to Teaching Shakespeare The Folger Guides to Teaching Shakespeare series offers educators fresh insights, innovative tools, and detailed lesson plans for teaching Shakespeare’s most frequently taught plays. Rooted in the proven Folger Method and informed by the experiences of classroom teachers across the United States, the guides are designed to make Shakespeare accessible, engaging, and relevant for today’s students. > > The new teaching guides are available for purchase online at the Folger Shop. Peggy O’Brien is a classroom teacher and the founder of the Folger Shakespeare Library’s Education Department. Since 1981, she has championed K–12 Shakespeare education, establishing the Teaching Shakespeare Institute and serving as the instigator and general editor of the Shakespeare Set Free series. From 2013 to 2024, Peggy returned to the Folger to serve as Director of Education, during which she oversaw the creation of the Folger Guides to Teaching Shakespeare. Deborah Gascon is a National Board-Certified teacher of English and Journalism in Columbia, South Carolina, and a Fulbright Teacher Exchange alum who taught English in Romania. A graduate of the 2012 Teaching Shakespeare Institute, she has served as a mentor teacher for the Folger Summer Academy. Deborah holds a doctorate in Curriculum and Instruction from the University of South Carolina, with a dissertation on using Shakespeare to enhance student comprehension, empathy, and awareness of gender and race. She co-wrote the lesson plans for The Folger Guide to Teaching Romeo and Juliet. Mark Miazga teaches English at Baltimore City College High School, one of the nation’s oldest public schools, where he works within the International Baccalaureate Diploma and Middle Years Programs. A recipient of the Milken Educator Award in 2014, Mark is a 2008 Teaching Shakespeare Institute scholar and a 2013 Steinbeck Institute Scholar. He holds a BA in English and Education from Michigan State University and a Master’s in Secondary Education from Towson University. Mark co-wrote the lesson plans for The Folger Guide to Teaching Macbeth. From the Shakespeare Unlimited podcast. Published November 18, 2024. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the associate producer. It was edited by Gail Kern Paster. We had help with web production from Paola García Acuña. Leonor Fernandez edits our transcripts. Final mixing services are provided by Clean Cuts at Three Seas, Inc.

Transcribed - Published: 20 November 2024

Can you love Shakespeare and be an antiracist? Farah Karim-Cooper’s book The Great White Bard explores the language of race and difference in Shakespeare’s plays. Dr. Karim-Cooper also looks at the ways Shakespeare’s work became integral to Britain’s imperial project and its sense of cultural superiority. But, for all this, Karim-Cooper is an unapologetic Shakespeare fan. It’s right there in the subtitle of her book: “How to Love Shakespeare While Talking about Race.” Far from casting Shakespeare out of the classroom or playhouse, Karim-Cooper shows new ways to appreciate him. By drawing connections between the plays and current events, she offers an eyes-wide-open tour of Shakespeare’s continued relevance. Karim-Cooper talks with Barbara Bogaev about the role of race in Titus Andronicus, Othello, Romeo and Juliet, and more. Farah Karim-Cooper, is the new Director of the Folger Shakespeare Library, was previously a Professor of Shakespeare Studies at King’s College London and Director of Education at Shakespeare’s Globe. The Great White Bard is available now from Viking Press. From the Shakespeare Unlimited podcast. Originally published August 15, 2023, updated and rebroadcast November 5, 2024. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Paola García Acuña is the web producer and edited this transcript. We had technical help from Mark Dezzani in Surrey and Voice Trax West in Studio City, California. Final mixing services provided by Clean Cuts at Three Seas, Inc

Transcribed - Published: 5 November 2024

Shakespeare is often associated with tragedy, but did you know that he changed the genre? In this episode, Rhodri Lewis, professor of English at Princeton University and author of Shakespeare’s Tragic Art, explores how Shakespeare redefined tragedy in ways that still feel modern today. Through a close examination of plays like Titus Andronicus, Romeo and Juliet, and King Lear, Lewis explains how Shakespeare shifted the traditional classical form of tragedy, introducing characters who deceive themselves and struggle to understand their own nature. From the slasher-style Titus to the complex interiority of Juliet, Shakespeare experimented with plot, language, and character to push the boundaries of tragic drama, giving audiences an unsettling yet profoundly human insight into the flawed nature of existence. Rhodri Lewis teaches English at Princeton University. His previous books include Hamlet and the Vision of Darkness (Princeton) and Language, Mind, and Nature: Artificial Languages in England from Bacon to Locke. Outside the academy, he writes for publications including The Times Literary Supplement, Prospect, The Literary Review, and The Los Angeles Review of Books. From the Shakespeare Unlimited podcast. Published October 21, 2024. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the associate producer. It was edited by Gail Kern Paster. We had help with web production from Paola García Acuña. Leonor Fernandez edits our transcripts. Final mixing services are provided by Clean Cuts at Three Seas, Inc.

Transcribed - Published: 22 October 2024

Forget witches, broomsticks, and cauldrons bubbling over—when it came to real magic in Shakespeare’s time, most people turned to their local cunning folk. These magical practitioners wielded spells to cure illnesses, recover lost items, and even spark a bit of romance. Far from the dark, devilish image popularly associated with witchcraft, cunning folk were trusted members of society, providing magical services as casually as a modern-day plumber or dentist. In this episode, Barbara Bogaev talks with Tabitha Stanmore, a scholar from the University of Essex, about the fascinating, overlooked world of practical magic in early modern England. Drawing from her new book, Cunning Folk: Life in the Era of Practical Magic, Stanmore sheds light on how cunning folk, who served as diviners, astrologers, charm makers, and healers, shaped the lives of both ordinary people and royals alike. These practitioners were called upon for everything from predicting the future to healing the sick, and their magic was seen as helpful, not harmful. Stanmore explains how these magical practices were woven into the fabric of daily life and how cunning folk managed to steer clear of the persecution that plagued so-called witches. Stanmore shares the fascinating methods cunning folk employed—from using bread and cheese to identify thieves to casting love spells with fish (seriously!)—and why their magic was essential in a world that still sought out supernatural help. If you thought magic in Shakespeare’s time was all witches and broomsticks, think again—Stanmore takes us on a magical journey that’s far more practical…and surprising. Tabitha Stanmore is a social historian of magic and witchcraft at the University of Exeter. She is part of the Leverhulme-funded Seven County Witch-Hunt Project, and her doctoral thesis was published as Love Spells and Lost Treasure: Service Magic in England from the Later Middle Ages to the Early Modern Period. From the Shakespeare Unlimited podcast. Published October 7, 2024. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the associate producer. It was edited by Gail Kern Paster. We had help with web production from Paola García Acuña. Leonor Fernandez edits our transcripts. Final mixing services are provided by Clean Cuts at Three Seas, Inc

Transcribed - Published: 8 October 2024

How did Shakespeare engage with the complexities of gender and sexuality in his time? Was his portrayal of cross-dressing and same-sex attraction simply for comedic effect, or did it reflect a deeper understanding of queer desire? In this episode, host Barbara Bogaev speaks with scholar Will Tosh, who delves into these questions through his new book Straight Acting: The Hidden Queer Lives of William Shakespeare. Tosh, Head of Research at Shakespeare’s Globe, explores Shakespeare’s work in the context of early modern London—a city bustling with queer subcultures. This conversation touches on Shakespeare’s depictions of gender fluidity, same-sex desire, and the influence of classical literature on his plays. The episode highlights the cultural and social dynamics of the time, revealing the complex ways in which gender and sexuality were understood and expressed in early modern England. Tosh also examines Shakespeare's schooling, shaped by homoerotic classics like Cicero’s De Amicitia and Ovid’s Metamorphoses, which deeply influenced his writing. >>Discover Straight Acting by Will Tosh—a literary biography that opens a window into Shakespeare’s queer subtexts, available now from Seal Press. Tosh’s conversation offers a nuanced exploration of how Shakespeare navigated and represented homoerotic relationships, with specific attention to characters such as Antonio and Sebastian from Twelfth Night. He also connects Shakespeare’s work with the wider culture of early modern England, where queer desire was both expressed and concealed. Will Tosh is head of research at Shakespeare’s Globe, London. He is a scholar of early modern literature and culture, a dramaturg for Renaissance classics and new plays, and a historical adviser for television and radio. He is the author of two previous books, and he appears regularly in the media to discuss Shakespeare and his world. He lives in London.

Transcribed - Published: 24 September 2024

How can educators effectively incorporate discussions about race into the study of Shakespeare and other premodern texts in the college classroom? Barbara Bogaev speaks with scholars Ayanna Thompson and Ruben Espinosa about Throughlines, a pedagogical resource developed by the Arizona Center for Medieval and Renaissance Studies at Arizona State University. This free online tool offers professors a variety of accessible teaching materials for incorporating premodern critical race studies into their teaching. Specifically designed for use in higher education, the materials include lectures, syllabi, and activities on a unique and expansive range of topics that will continue to grow. >>Explore Throughlines, a free online resource for the college classroom at throughlines.org Espinosa and Thompson share their experiences teaching Shakespeare in diverse higher education settings. Their conversation underscores students' need for open dialogue and provides practical strategies for navigating these discussions. They offer valuable insights for experienced professors and those new to teaching, highlighting the value of integrating premodern critical race studies into studying Bard's works and other literature and history. Ayanna Thompson Ayanna Thompson is a Regents Professor of English at Arizona State University and Executive Director of the Arizona Center for Medieval and Renaissance Studies. Thompson, an influential Shakespeare scholar, is the author of many titles, including Blackface and Shakespeare in the Theatre: Peter Sellars. She is currently collaborating with Curtis Perry on the Arden4 edition of Titus Andronicus. Thompson's leadership extends beyond the university, serving on the boards of the Royal Shakespeare Company, Play On Shakespeare, and Folger Shakespeare Library. She is a Shakespeare Scholar in Residence at The Public Theater in New York. In 2021, she was elected to the American Academy of Arts and Sciences. Ruben Espinosa Ruben Espinosa is the Director of the Arizona Center for Medieval and Renaissance Studies and a Professor of English at Arizona State University. He is the author of many titles, and most recently, Shakespeare on the Shades of Racism. He is the current President of the Shakespeare Association of America, and he serves on the Editorial Boards of Shakespeare Quarterly, Exemplaria: Medieval, Early Modern, Theory, and Palgrave's "Early Modern Cultural Studies" series. He is working on his next monograph, Shakespeare on the Border: Language, Legitimacy and La Frontera.

Transcribed - Published: 10 September 2024

Was Romeo and Juliet your first brush with Shakespeare? Whether it was on stage, on screen in films by Franco Zeffirelli or Baz Luhrmann or Shonda Rhimes' Still Star-Crossed, or in the pages of the Folger Shakespeare edition, your early experience probably shaped how you see Juliet. Over 400 years, our thinking about Shakespeare's first tragic heroine has shifted repeatedly, revealing as much about us as Shakespeare's play does. Oxford professor Sophie Duncan, Shakespeare scholar and author of Juliet: The Life and Afterlives of Shakespeare's First Tragic Heroine, explores the enduring legacy of one of Shakespeare's most iconic characters. The conversation touches on Juliet's cultural impact, why Shakespeare may have centered his tragedy around a young woman and the societal reflections found in the various interpretations of Juliet throughout history. The episode also discusses how different eras, particularly the Victorian period, have grappled with Juliet's rebellious and passionate nature, often reshaping her character to fit their values. Duncan shares insights into why Juliet remains a potent symbol of love and tragedy and how this character continues to captivate audiences centuries after she was first brought to life on the stage. Sophie Duncan is a scholar who specializes in Shakespeare's performance history and how Early Modern dramas have been used to explore issues of gender, race, and sexuality over the last four and a half centuries. She is interested in women's creative networks, theatrical memory, theater props, cognitive approaches to drama, and cultural memory. Sophie regularly works with theater companies to bring Shakespeare's works to life. Duncan is the author of Juliet: The Life and Afterlives of Shakespeare's First Tragic Heroine and Shakespeare's Women and the Fin de Siècle. She writes about Shakespeare and gender and has worked extensively as a historical advisor in theater and television. Additionally, Sophie is a Research Fellow and Dean for Welfare at Magdalen College, University of Oxford. She lives in Oxford, UK. Join us at the Folger for our upcoming production of Romeo and Juliet, running from October 1st to November 10th, 2024. Get your tickets now! From the Shakespeare Unlimited podcast. Published August 26, 2024. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the associate producer. It was edited by Gail Kern Paster. We had help with web production from Paola García Acuña. Leonor Fernandez edits our transcripts. Final mixing services are provided by Clean Cuts at Three Seas, Inc.

Transcribed - Published: 27 August 2024

This summer San Diego’s Old Globe became one of only 10 theaters in America who have produced all of Shakespeare’s plays (or 11, depending on how you count it) with their production of Henry VI, parts 1, 2, and 3. Artistic Director Barry Edelstein shares the details of how they tackled staging three rarely seen works with more than 150 characters, and condensed it into two exciting nights of theater. The epic production includes contributions from nearly a thousand San Diegans, many of whom have participated in the Globe’s community programs. Edelstein, the Erna Finci Viterbi Artistic Director of The Old Globe, is one of America’s most experienced Shakespeare directors and has staged more than half the canon himself. Before joining the Globe in 2012, he directed the Public Theatre’s Shakespeare Initiative and was the artistic director for Classic Stage Company in New York City. He is the author of Thinking Shakespeare about American Shakespearean acting and Bardisms: Shakespeare for All Occasions. Henry 6 runs through September 14 and 15, 2024 at the Globe in San Diego, California. For tickets and more information, visit https://www.theoldglobe.org. From the Shakespeare Unlimited podcast. Published August 13, 2024. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the associate producer. It was edited by Gail Kern Paster. We had help with web production from Paola García Acuña. Leonor Fernandez edits our transcripts. Final mixing services provided by Clean Cuts at Three Seas, Inc.

Transcribed - Published: 14 August 2024

Can a musical comedy featuring Hamlet and Nightmare on Elm Street’s Freddy Krueger change lives? Actor, playwright, and director Colman Domingo thinks so. In Sing Sing, a new film from A24, Domingo stars in a true story about the power of theater. Inspired by the real-life Rehabilitation through the Arts program at Sing Sing Maximum Security Prison, Sing Sing tells the story of Divine G, played by Domingo, imprisoned for a crime he didn’t commit, who finds purpose by acting in a theater group with other incarcerated men. When a wary outsider joins the group, the men decide to stage their first original comedy. Sing Sing stars an ensemble cast of formerly incarcerated actors who are alumni of the RTA program, including Clarence "Divine Eye" Maclin and Sean San José. Domingo takes us behind the scenes of the making of Sing Sing. He also shares how he became an actor after a class at Temple University and his own Shakespeare story including an inventive take on Helena from A Midsummer Night’s Dream. Domingo is beloved for onscreen portrayals including Civil Rights activist Bayard Rustin in Netlfix’s Rustin for which he received an Oscar nomination for Best Actor. Other films include Lincoln, Selma, If Beale Street Could Talk, Ma Rainey’s Black Bottom, Zola, and The Color Purple. His breakthrough came as conman Victor Strand on Fear the Walking Dead. He won an Emmy for his performance as Ali on HBO Max’s Euphoria. On stage he was nominated for Tony and Olivier awards for his role as Mr. Bones in The Scottsboro Boys. He wrote the book for the Broadway musical Summer: The Donna Summer Musical. Time magazine named him one of the 100 most influential people in the world in 2024. From the Shakespeare Unlimited podcast. Published July 30, 2024. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. Leonor Fernandez edits our transcripts. Final mixing services provided by Clean Cuts at Three Seas, Inc.

Transcribed - Published: 30 July 2024

Imagine: a fiercely idealistic, politically progressive artist takes the stand at a hearing of the House Un-American Activities Committee. The chair of the committee is a hard-right demagogue with a gift for sound bites and a fixation with Communism. If you’re picturing Joseph McCarthy’s anti-Communist crusade in the 1950s… think two decades earlier. This story played during the Great Depression. The congressman was Martin Dies, a Democrat from Texas. On the stand was Hallie Flanagan, the director of the Federal Theatre Project, Franklin D. Roosevelt’s ambitious program to rescue live theater in America. The project attempted to create jobs for thousands of out-of-work playwrights, actors, directors, and backstage technicians. It commissioned new plays and staged productions all around the country. And, despite logistical hitches and ideological blowback, the Federal Theatre managed to reach millions of Americans, many of whom had never seen a live production ever before. Columbia University Professor James Shapiro’s new book, The Playbook: A Story of Theater, Democracy, and the Making of a Culture War, tells the story of that New Deal program and how it changed our cultural and political landscape. He discusses it with host Barbara Bogaev. James Shapiro is the Larry Miller Professor of English and Comparative Literature at Columbia University. He is the author of several acclaimed books on Shakespeare including A Year in the Life of William Shakespeare: 1599, Contested Will; Who Wrote Shakespeare?, and The Year of Lear: Shakespeare in 1606, and Shakespeare in a Divided America: What His Plays Tell Us About Our Past and Future. From the Shakespeare Unlimited podcast. Published July 16, 2024. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. Leonor Fernandez edits our transcripts. Final mixing services provided by Clean Cuts at Three Seas, Inc.

Transcribed - Published: 16 July 2024

After a four-year renovation, the Folger Shakespeare Library is now open with 12,000 square feet of new public spaces. But behind the scenes, in our original building, we’ve also revamped the way we serve researchers working with the world’s largest Shakespeare collection. On this episode, host Barbara Bogaev talks with Director of Collections Greg Prickman, Folger Institute Director Patricia Akhimie, and Folger Director Michael Witmore about how research happens at the Folger, from Folger Institute fellowships to the chairs in our Reading Room. From the Shakespeare Unlimited podcast. Published July 2, 2024. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. Leonor Fernandez edits a transcript of every episode, available at folger.edu. Final mixing services provided by Clean Cuts at Three Seas, Inc.

Transcribed - Published: 2 July 2024

On June 21, the Folger reopens after a four-year renovation. The reimagined Folger has brand-new public exhibition spaces where we can introduce visitors to Shakespeare and his plays, as well as showcase some of the treasures of the Folger’s collection. Behind the scenes in the original building, we’ve also completely revamped the way we serve researchers visiting the world’s largest Shakespeare collection. In this episode, the first of two parts, celebrate our reopening with us and join Folger Director Michael Witmore and Shakespeare Unlimited host Barbara Bogaev on a tour of our building. From the Shakespeare Unlimited podcast. Published June 18, 2024. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. Leonor Fernandez edits our transcripts. Final mixing services provided by Clean Cuts at Three Seas, Inc.

Transcribed - Published: 18 June 2024

Fred Wilson’s artistic output includes painting, sculpture, photography, and collage, among other media. But his 1992 work “Mining the Museum” at the Maryland Historical Society used the museum’s own collection as its material, radically reframing how American institutions present their art. Wilson went on to represent the United States at the 2003 Venice Biennale. For that exhibition, Wilson commissioned a black glass chandelier from the famed Venice glassmakers on the island of Murano. Wilson titled the piece “Speak of me as I am,” after the line from Shakespeare’s tragic Venetian, Othello. In the years since then, Wilson has made several other pieces that engage with Othello, many of them made from the same evocative black Murano glass. In a new installation piece commissioned by the Folger, Wilson brings together two sides of his artistic practice: institutional critique and glass sculpture. It’s titled “God me such uses send, Not to pick bad from bad, but by bad mend”—another line from Othello, this one spoken by Desdemona. The installation includes a massive black-glass mirror, ornately etched and filigreed. Visitors see themselves reflected in the mirror, along with a portrait of Queen Elizabeth that hangs opposite the mirror in the gallery. On another wall hangs an engraving of the actor Ira Aldridge in the role of Othello, alongside lines from the play written out in Aldridge’s own hand. The piece brings together questions of identity, belonging, erasure, and representation—and lets those facets reflect and refract one another, without easy answers. On this episode, Wilson discusses the piece with host Barbara Bogaev. Fred Wilson’s installation, “God me such uses send, Not to pick bad from bad, but by bad mend,” will welcome visitors to the Shakespeare Exhibition Hall when the Folger reopens on June 21. From the Shakespeare Unlimited podcast. Published June 4, 2024. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. Leonor Fernandez edits our transcripts. We had technical help from Digital Island Studios in New York and Voice Trax West in Studio City, California. Final mixing services provided by Clean Cuts at Three Seas, Inc.

Transcribed - Published: 4 June 2024

The desire for a second chance provides the engine for many of Shakespeare’s plays. In their new book, Second Chances: Shakespeare and Freud, Shakespeare scholar Stephen Greenblatt and psychologist Adam Phillips argue that this fascination with the second chance links Shakespeare with one of his biggest 20th century fans: Sigmund Freud. Shakespeare helped Freud think about second chances—why we desire them so deeply, and why, sometimes, we push them away. Host Barbara Bogaev talks with Greenblatt and Phillips about how reading Freud alongside Shakespeare can help illuminate both writers’ insights into human nature. Second Chances: Shakespeare and Freud is available from Yale University Press. From the Shakespeare Unlimited podcast. Published May 21, 2024. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. Leonor Fernandez edits our transcripts. We had technical help from Rob Double at London Broadcast and Voice Trax West in Studio City, California. Final mixing services provided by Clean Cuts at Three Seas, Inc.

Transcribed - Published: 21 May 2024

When Mary Zimmerman's adaptation of Ovid's Metamorphoses was on Broadway in 2002, it won a host of awards, including the Drama Desk, Drama League, and Lucille Lortel awards for best play. Zimmerman took home the Tony award for best director. This spring, director Psalmayene 24 and an all-Black cast stage a new production of the play interpreted through the lens of the African diaspora.  Zimmerman joins us on the podcast to talk about the process of adapting Metamorphoses and The Odyssey, directing Shakespeare, and more. She is interviewed by Barbara Bogaev. Beyond Metamorphoses, Zimmerman has adapted other ancient texts for the stage, like The Odyssey, Jason and the Argonauts, and Journey to the West. She has directed many of Shakespeare’s plays, as well as operas at the Metropolitan Opera. She co-wrote the libretto for the Phillip Glass opera Galileo Galilei. The Matchbox Magic Flute, her new adaptation of Mozart, plays at DC's Shakespeare Theater Company this month, in association with the Goodman Theatre. From the Shakespeare Unlimited podcast. Published May 7, 2024. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica, with help from Kendra Hanna. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. Leonor Fernandez edits our transcripts. We had technical help from from Northwestern University and Voice Trax West in Studio City, California. Final mixing services provided by Clean Cuts at Three Seas, Inc.

Transcribed - Published: 7 May 2024

In her new book, Shakespeare: The Man Who Pays the Rent, Dame Judi  Dench and actor/director Brendan O'Hea chat about her long history with the Bard. On this episode, Dench and O'Hea join host Barbara Bogaev to talk about Dench's experiences playing Ophelia, Gertrude, Lady Macbeth and Titania. Plus, parrots, Polonius, dirty words, Ian McKellen, why it's easier to laugh while working on a tragedy, and more. Dame Judi Dench has played nearly all of Shakespeare's great roles for women, plus a few non-Shakespearean parts, too, including the title role in Stephen Frears’ Philomena, M in 8 of the James Bond films, Granny in Kenneth Branagh’s Belfast, and Queen Elizabeth in Shakespeare in Love, for which she won an Academy Award. Brendan O’Hea has acted in and directed multiple productions at Shakespeare's Globe in London, and appeared with Dench in the film Quantum of Solace. Their book Shakespeare: The Man Who Pays the Rent is available from St. Martin’s Press. From the Shakespeare Unlimited podcast. Published April 9, 2024. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica, with help from Kendra Hanna. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. Leonor Fernandez edits our transcripts. We had technical help from London Broadcast Studios and Voice Trax West in Studio City, California. Final mixing services provided by Clean Cuts at Three Seas, Inc.

Transcribed - Published: 23 April 2024

Land enclosure. Wildlife management. Erosion. Pollution. Mining practices. Today, we’d call these environmental issues. But, hundreds of years before the modern environmental movement coalesced, these issues also appeared in Shakespeare’s plays. We talk to Todd Andrew Borlik, a professor at the University of Huddersfield and author of Shakespeare Beyond the Green World, Drama and Ecopolitics in Jacobean Britain, about ecology and environmentalism in Shakespeare’s works. Shakespeare Beyond the Green World, Drama and Ecopolitics in Jacobean Britain is out now from Oxford University Press. From the Shakespeare Unlimited podcast. Published April 9, 2024. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica, with help from Kendra Hanna. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. Leonor Fernandez edits a transcript of every episode, available at folger.edu. We had technical help from Voice Trax West in Studio City, California. Final mixing services provided by Clean Cuts at Three Seas, Inc.

Transcribed - Published: 9 April 2024

In A Room of One’s Own, Virginia Woolf famously imagined what might have happened if Shakespeare had a sister who was as gifted a writer as he was. She invents “Judith” Shakespeare, and concludes that this female genius would have been doomed. But that’s not the end of the story. If Woolf had read Mary Sidney, Aemelia Lanyer (nee Bassano), Anne Clifford, and Elizabeth Carey, she might have thought differently about the fate of her fictional Judith Shakespeare. Ramie Targoff's new book, Shakespeare's Sisters: How Women Wrote the Renaissance, explores the lives and works of those four women.. Targoff tells us about them and reflects on why reading their work is so important. Ramie Targoff teaches English and Italian literature at Brandeis University. She’s also a member of the Folger’s Board of Governors. Her book Shakespeare’s Sisters: How Women Wrote the Renaissance is available from Knopf. From the Shakespeare Unlimited podcast series. Published March 12, 2024. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. Leonor Fernandez edits our transcripts. We had technical help from Digital Island Studios in New York and Voice Trax West in Studio City, California. Final mixing services provided by Clean Cuts at Three Seas, Inc.

Transcribed - Published: 26 March 2024

In her new memoir, "Green World," Shakespeare scholar Michelle Ephraim tells the story of how she came to Shakespeare relatively late in her education. Although she didn’t grow up with Shakespeare, Ephraim became transfixed by "The Merchant of Venice" as a grad student. In particular, she found herself drawn to Jessica, Shylock’s daughter, and the mysteries of their relationship. That curiosity led Ephraim to discover a novel Biblical interpretation of some lines from the play as she researched her dissertation. In Ephraim’s memoir, "Merchant" refracts through the changing dynamics of her own family, as her Holocaust-survivor parents age and she becomes a mother herself. She shares her story with host Barbara Bogaev. Michelle Ephraim teaches Shakespeare at Worcester Polytechnic Institute in Massachusetts. She’s the co-author of a cocktail recipe book called Shakespeare, Not Stirred, and the co-host of the Everyday Shakespeare podcast, both with Caroline Bicks. Her memoir Green World: A Tragicomic Memoir of Love & Shakespeare won the Juniper Award for Creative Nonfiction, and is out now from University of Massachusetts Press. From the Shakespeare Unlimited podcast series. Published March 12, 2024. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. Leonor Fernandez edits a transcript of every episode, available at folger.edu. We had technical help from WICN in Worcester and Voice Trax West in Studio City, California. Final mixing services provided by Clean Cuts at Three Seas, Inc.

Transcribed - Published: 12 March 2024

Eddie Izzard has a long record of dramatic roles. But it’s her decades of experience as a stand-up comedian that prepared Izzard for her recent solo shows—first Great Expectations, and now Hamlet at New York’s Greenwich House Theatre. From the Shakespeare Unlimited podcast series. Published February 27, 2024. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. Leonor Fernandez edits our transcripts. We had technical help from Digital Island Studios in New York and Voice Trax West in Studio City, California. Final mixing services provided by Clean Cuts at Three Seas, Inc.

Transcribed - Published: 27 February 2024

Maybe there really was something rotten in Denmark. On this episode, we talk with Bradley J. Irish about disgust in Shakespeare. In his new book, Irish identifies the emotion, which combines physical revulsion and moral outrage, as one of the central thematic emotions in Shakespeare’s plays. In his close readings across the canon, Irish finds disgust everywhere: in Caius Martius Coriolanus’s disdain for ordinary Romans, in the over-indulgent food Antony eats in Egypt, in Henry IV’s preoccupation with sickness and disease in Henry IV, and beyond. Bradley Irish is interviewed by Barbara Bogaev. Bradley J. Irish is a professor at Arizona State University. Shakespeare and Disgust: The History and Science of Early Modern Revulsion is out now from Bloomsbury Publishing. From the Shakespeare Unlimited podcast series. Published February 13, 2024. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. Leonor Fernandez edits a transcript of every episode, available at folger.edu. We had technical help from Voice Trax West in Studio City, California. Final mixing services provided by Clean Cuts at Three Seas, Inc.

Transcribed - Published: 13 February 2024

When the Folger reopens on June 21 and you come to take a walk in our new west garden, look down at the garden bed. There, you'll see a new poem, written for the Folger by US Poet Laureate emerita Rita Dove. This week, she joins us on the podcast to read that poem aloud for the first time. Plus, Dove reflects on how writing for marble is different from writing for the page, and remembers the moment she discovered Shakespeare. Rita Dove is interviewed by Barbara Bogaev. Rita Dove served as the US Poet Laureate for two terms, from 1993 to 1995, and as a special bicentennial consultant to the Library of Congress in 1999. Her third collection of poetry, Thomas and Beulah, won the Pulitzer Prize. She is the only poet ever to receive both the National Humanities Medal and the National Medal of the Arts, from presidents Bill Clinton and Barack Obama. In 2021, she received the Gold Medal for Poetry from the American Academy of Arts and Letters—the first African American poet in the medal’s history. She teaches at the University of Virginia in Charlottesville. Dove has also read in the Folger's O.B. Hardison Poetry series four times, and contributed a poem to our 2012 collection Shakespeare’s Sisters: Women Writers Bridge Five Centuries. From the Shakespeare Unlimited podcast series. Published January 30, 2024. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. Leonor Fernandez edits a transcript of every episode, available at folger.edu. We had technical help from With Good Reason, Virginia Humanities, and Voice Trax West in Studio City, California. Final mixing services provided by Clean Cuts at Three Seas, Inc.

Transcribed - Published: 30 January 2024

Even after appearing in a Shakespeare play, historical romance novels, a Broadway musical, and prestige TV dramas, there's still more to learn about Anne Boleyn. A new biography by the team of husband-and-wife historians John Guy and Julia Fox takes a scholarly look at the evidence surrounding Anne’s rise and fall. They freshly examine well-known accounts, and also take in passing references in neglected sources. In particular, they focus on Anne’s years of training in the courts of Europe, which shaped her into the formidable woman whom Henry VIII came to regard as an intellectual equal. It also prepared her for the ruthless politics of the English court, where Anne’s ambition and cunning won her some powerful enemies. Fox and Guy are interviewed by Barbara Bogaev. John Guy is a fellow at Cambridge University and a Tudor historian who has appeared on many TV and radio documentaries about the period. He’s written biographies of Henry VIII, Thomas More, and Queen Elizabeth I. His biography of Mary Queen of Scots was adapted into a film in 2018. Julia Fox has written biographies of Henry VIII’s first wife, Catherine of Aragon, and Anne’s sister, Jane Boleyn. Hunting the Falcon: Henry VIII, Anne Boleyn, and the Marriage That Shook Europe is out now from Harper. From the Shakespeare Unlimited podcast series. Published January 16, 2024. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. Leonor Fernandez edits our transcripts. We had technical help from Voice Trax West in Studio City, California. Final mixing services provided by Clean Cuts at Three Seas, Inc.

Transcribed - Published: 16 January 2024

Shakespeare has the perfect lines for riding into battle or stumbling around a stormy heath. But does he have the right stuff to take us on a daily commute or a trip to the grocery store? On this episode, David and Ben Crystal join us to talk about their new book, "Everyday Shakespeare: Lines for Life," which offers daily Shakespeare quotes you can apply to everyday life. The Crystals—David is a linguist, Ben is an actor—are the father-son duo behind the "Oxford Illustrated Shakespeare Dictionary"; "Shakespeare´s Words: A Glossary and Language Companion"; and "The Oxford Dictionary of Original Shakespearean Pronunciation." We talk to them about which quotations they included, why they chose to skip the typical contextual notes, and how you can improve your memory for Shakespeare’s words. "Everyday Shakespeare: Lines for Life" is available now from Chambers Books. From the Shakespeare Unlimited podcast series. Published January 2, 2024. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. Leonor Fernandez edits our transcripts. We had technical help from Voice Trax West in Studio City, California. Final mixing services provided by Clean Cuts at Three Seas, Inc.

Transcribed - Published: 2 January 2024

The most unforgivable crime in Richard III has to be when the king orders the murder of his two young nephews, Edward and Richard. But what if Richard III was framed? Philippa Langley is the amateur historian whose commitment to righting a historical wrong led to the discovery of Richard III’s remains a decade ago. Langley wasn’t a scholar—she was a screenwriter and a member of the Richard III Society. But she had become certain that Richard was the victim of Tudor propaganda, and that Shakespeare’s play had a key role in the slander. Langley convinced academic historians and archaeologists at the University of Leicester to excavate the parking lot where she believed Richard was buried. Those experts did find a body, and DNA analysis confirmed that the remains belonged to Richard III. That discovery led to further insights about the historical Richard. The physical deformities of Shakespeare’s character were Tudor inventions. Far from being a “bunch-backed toad,” the real Richard III had nothing more than a case of scoliosis. Since discovering the body in 2012, Philippa Langley and a team of collaborators have worked on cleaning up Richard’s reputation. Her new book, The Princes in the Tower, examines Richard’s most famous alleged crime: the murder of his two nephews, the sons of Edward IV. Investigating their disappearance as a 500-year-old cold case, Langley uncovers evidence that the princes survived Richard III’s reign… and points to another suspect for their eventual deaths. Langley talks with Barbara Bogaev about tracking down two of history's most famous missing persons. Philippa Langley's new book, The Princes in the Tower: Solving History’s Greatest Cold Case, is out now from Pegasus Books. From the Shakespeare Unlimited podcast series. Published December 19, 2023. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. Leonor Fernandez edits our transcripts. We had technical help from Voice Trax West in Studio City, California. Final mixing services provided by Clean Cuts at Three Seas, Inc.

Transcribed - Published: 19 December 2023

What comes to mind when you think about a "court jester?"  What if we told you that fools in the Tudor court didn’t look or sound anything like the zany clowns you have in mind? Historians don’t know much about Will Somer. We know he was Henry VIII’s court fool, but the details of his biography—and, crucially, his comedy—were never recorded. By Shakespeare’s time, Somer had become famous. Whenever a poet or playwright needed to reference a long-lost comedy great, they’d name-check Will Somer—kind of like mentioning Charlie Chaplin or Groucho Marx today. But unlike Chaplin or Groucho, none of Somer's jokes survived. So later writers just made them up, inventing a comedian to suit their own tastes. Peter K. Andersson’s new biography of Somer, "Fool: In Search of Henry the 8th’s Closest Man," digs through the layers of fiction that accumulated over the centuries to reveal is a fool very different from anything we might recognize from King Lear or Twelfth Night. We ask Andersson what we know about Somer, how he became a celebrity, and how people with intellectual disabilities were treated in the 16th century. Peter K. Andersson is a historian at Sweden's Örebro University. "Fool: In Search of Henry the 8th’s Closest Man" is available from Princeton University Press. From the Shakespeare Unlimited podcast series. Published December 5, 2023. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. Leonor Fernandez edits our transcripts. We had technical help from Frida Anund in Sweden and Voice Trax West in Studio City, California. Final mixing services provided by Clean Cuts at Three Seas, Inc.

Transcribed - Published: 5 December 2023

Isabelle Schuler’s debut novel Queen Hereafter attempts to fill in a backstory for Lady Macbeth. The book takes place in 11th century Scotland, where a king’s reign tended to be short and brutal. For her version of Lady M, Schuler didn’t rely on Shakespeare or his source material, Holinshed’s Chronicles. Instead, she looked to the annals and sagas that predate Holinshed. There, Schuler found Gruoch, who married Macbethad (the historical Macbeth) after her first husband died. Schuler talks with Barbara Bogaev about how she filled in the gaps of Shakespeare's tragedy. Queen Hereafter is available now from Harper Perennial. From the Shakespeare Unlimited podcast series. Published November 21, 2023. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. Leonor Fernandez edits a transcript of every episode, available at folger.edu. We had technical help from Voice Trax West in Studio City, California. Final mixing services provided by Clean Cuts at Three Seas, Inc.

Transcribed - Published: 21 November 2023

The First Folio—the first collected edition of Shakespeare’s plays—hit bookstores 400 years ago this November. Emma Smith of Oxford University tells us just what this famous book has been up to for the past four centuries. We explore notable collectors like Sir Edward Dering and our founders, Emily and Henry Folger; how the 18th-century slave trade supercharged the book’s value; how the 235 extant copies scattered across the world; and much more. Emma Smith is interviewed by Barbara Bogaev. Emma Smith teaches Shakespeare at Oxford University and is the author of Shakespeare's First Folio: Four Centuries of an Iconic Book. A new edition is available now from Oxford University Press. Smith is also leading a year-long scholarly program for the Folger Institute called “Next Gen Editing.” From the Shakespeare Unlimited podcast series. Published November 7, 2023. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. Leonor Fernandez edits our transcripts. We had technical help from VoiceTrax West in Studio City, California. Final mixing services provided by Clean Cuts at Three Seas, Inc.

Transcribed - Published: 7 November 2023

We talk with Harvard Professor Marjorie Garber about how modernist writers of London’s Bloomsbury Group made Shakespeare their own. Garber’s most recent book—her twentieth—is Shakespeare in Bloomsbury. In it, she traces the influence of Shakespeare on the members of the Bloomsbury Group, that circle of early 20th-century intellectuals included novelists Virginia Woolf and E.M. Forster, painter Vanessa Bell, director Dadie Rylands, critic and biographer Lytton Strachey, economist John Maynard Keynes, and others. She tells Barbara Bogaev about the threads of Shakespeare that run through Woolf’s novels, how Lytton Strachey changed our perspective on Shakespeare’s late plays, and what got her interested in the Bloomsbury Group in the first place. Marjorie Garber is the William R. Kenan, Jr. Professor of English and Visual and Environmental Studies at Harvard University. Shakespeare in Bloomsbury is available from Yale University Press. Garber is the inaugural Scholar in Residence of Washington, DC’s Shakespeare Everywhere Festival, happening across the city this fall. Join Garber in-person for five free public lectures through November 16. Learn more at shakespeareeverywheredc.com.

Transcribed - Published: 24 October 2023

Sir Patrick Stewart joins us on the podcast to talk about how Shakespeare has shaped his life. Stewart tells host Barbara Bogaev about his Yorkshire youth, his audition for the Royal Shakespeare Company, playing Starfleet Captain Jen-Luc Picard, and more. Stewart's memoir, "Making It So," is available now from Gallery Books, an imprint of Simon & Schuster. From the Folger’s Shakespeare Unlimited podcast. Published October 10, 2023. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. Leo Fernandez edits our transcripts. We had technical help from Ngofeen Mputubwele in New York and Andrew Feliciano at Voice Trax West in Studio City, California. Final mixing services provided by Clean Cuts at Three Seas, Inc.

Transcribed - Published: 10 October 2023

Sometimes, the beauty of Shakespeare’s poetry takes your breath away. In the case of today’s guest, Shakespeare gave him his breath back. You may recognize actor Michael Patrick Thornton from his roles on TV series like Private Practice and The Good Doctor. Twenty years ago, Thornton had just started out in his acting career when he suffered two spinal strokes that nearly ended his life. He survived, but the strokes took away his ability to breathe and speak. A speech therapist helped Thornton find his way back to breath control… by reciting Shakespeare. He talks with Barbara Bogaev about learning to breathe again with the Bard. Michael Patrick Thornton is the co-founder and former artistic director of The Gift Theatre in Chicago. He’s played Iago at the Gift, and Richard III in a co-production with Steppenwolf Theatre. Recently, he appeared on Broadway in Sam Gold’s 2022 production of Macbeth starring Daniel Craig and Ruth Negga and in the Tony-nominated Broadway production of A Doll’s House. From the Folger’s Shakespeare Unlimited podcast. Published September 26, 2023. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. Leo Fernandez edits our transcripts. We had technical help from Daniel Roth in Chicago and Voice Trax West in Studio City, California. Final mixing services provided by Clean Cuts at Three Seas, Inc.

Transcribed - Published: 26 September 2023

We talk with author Katherine Rundell about the extraordinary life —or should we say lives? — of John Donne, who wrote some of the 17th century’s most complex and intellectually dazzling poetry. Rundell, a fellow at All Souls College, Oxford and the author of Super-Infinite: The Transformations of John Donne takes us through Donne’s evolution from hotshot poet to penniless prisoner to rock star preacher. Rundell has also written six novels for children, a book for adults about children’s books, and a nonfiction book about the wonder of animals called The Golden Mole. Her latest fantasy novel, Impossible Creatures, comes out in September 2023.

Transcribed - Published: 12 September 2023

Today, we sail the seven seas with Shakespeare. In addition to being a dedicated swimmer, Steve Mentz is a professor at St. John’s University. His books, including 2009’s At the Bottom of Shakespeare’s Ocean, connect literary criticism with marine ecology. Mentz talks with Barbara Bogaev about Shakespeare’s oceanic metaphors, how much Shakespeare really knew about the ocean, and what plays like The Tempest, King Lear, and Twelfth Night can teach us as we face rising sea levels and more destructive storms. Steve Mentz is a Professor of English at St. John’s University. His new book, An Introduction to the Blue Humanities, is out now from Routledge. He is a former Folger fellow and a frequent participant in the Folger Institute’s scholarly programs. From the Folger’s Shakespeare Unlimited podcast. Published August 29, 2023. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. Leo Fernandez edits a transcript of every episode, available at folger.edu. We had technical help from Robert Scaramuccia in New Haven and Jenna McClelland at Voice Trax West in Studio City, California. Final mixing services provided by Clean Cuts at Three Seas, Inc.

Transcribed - Published: 29 August 2023

Can you love Shakespeare and be an antiracist? Farah Karim-Cooper's new book, The Great White Bard, explores the language of race and difference in plays such as Antony and Cleopatra, Titus Andronicus, and The Tempest. Karim-Cooper also looks at the ways Shakespeare’s work became integral to Britain’s imperial project, and its sense of cultural superiority. But for all this, Karim-Cooper is an unapologetic Shakespeare fan. It's right there in the subtitle of her book: "How to Love Shakespeare While Talking about Race." Far from casting Shakespeare out of the classroom or playhouse, Karim-Cooper shows new ways to appreciate him. And, by drawing connections between the plays and current events, she offers an eyes-wide-open tour of Shakespeare’s continued relevance. Karim-Cooper talks with Barbara Bogaev about the role of race in Titus Andronicus, Othello, Romeo and Juliet, and more. Listen to Shakespeare Unlimited on Apple Podcasts, Google Podcasts, Spotify, Soundcloud, or wherever you get your podcasts. Farah Karim-Cooper is a professor of Shakespeare studies at King’s College, London, and a director of education at Shakespeare’s Globe theater. The Great White Bard is available now from Viking Press. From the Folger’s Shakespeare Unlimited podcast. Published August 15, 2023. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. Leo Fernandez edits our transcripts. We had technical help from Mark Dezzani in Surrey and Voice Trax West in Studio City, California. Final mixing services provided by Clean Cuts at Three Seas, Inc.

Transcribed - Published: 15 August 2023

A Palestinian production of Hamlet in the West Bank is the backdrop for Isabella Hammad’s new novel, Enter Ghost. Hammad’s first novel, the beautiful and sprawling The Parisian, won international acclaim in 2019. Granta included Hammad in its decennial “Best of Young British Novelists” list earlier this year. The narrator of Hammad’s new novel is Sonia, a British Palestinian actress who visits her sister in Israel to recover from the end of an affair. Despite wanting to take a break from the stage, Sonia gets roped into playing Gertrude in a production of Hamlet being mounted in the West Bank. Sonia’s fellow actors read Hamlet as an allegory for the Palestinian struggle. While Sonia resists their interpretation, she uncovers ghosts of her own—repressed memories, a family history of resistance, and a newly discovered commitment to the Palestinian cause. Despite the novel’s contemporary setting and political themes, Hammad never lets her characters’ trenchant views overwhelm the complex beauty of her storytelling. Isabella Hammad is interviewed by Barbara Bogaev. Enter Ghost is available now from Grove Atlantic Press. From our Shakespeare Unlimited podcast. Published August 1, 2023. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. Leonor Fernandez edits our transcripts. We had technical help from Andrew Feliciano at Voice Trax West in Studio City, California. Final mixing services provided by Clean Cuts at Three Seas, Inc.

Transcribed - Published: 1 August 2023

Mat Osman's new novel, The Ghost Theatre, takes us flying over the rooftops of Elizabethan London and down into the gritty lives of its child actors. A historical novel set in a vibrant and sensuously reimagined Elizabethan London, the book's main character is Shay, the daughter of a clairvoyant who lives among a community who worship birds. When Shay meets a charming young actor named Nonesuch, she is drawn into the world of the children’s theater—that is, a theater whose actors and crew are all made up of young people, performing for an audience made of primarily of adults. Shay falls in love with performance and joins an immersive guerrilla theater troupe that gets tangled up in a violent political power struggle. Osman is more famous as the bass player in the British rock band Suede. To get the texture of Elizabethan life right in The Ghost Theatre, Osman researched as much as he could at the margins of history. Osman tells Barbara Bogaev about how he explored his young actors' lives, invented an early modern religious sect, and how his long career as a rock musician helped him write the novel.

Transcribed - Published: 18 July 2023

We could listen to Adrian Lester talk about acting all day… but he's a busy man, so we’ll settle for this 37 minute episode. The actor joins us to discuss some of his most famous performances, including Rosalind in Cheek by Jowl’s acclaimed 1991 all-male As You Like It, Hamlet with Peter Brook, and Henry V and Othello with Nicholas Hytner. Plus, Lester takes us back to his childhood in Birmingham and tells us about his patronage of the Everything to Everybody project and the Birmingham Shakespeare Library. Lester is interviewed by Barbara Bogaev. Visit our website, folger.edu/unlimited, to learn more about Everything to Everybody and see video of Lester's performance in "As You Like It." From our Shakespeare Unlimited podcast. Published July 4, 2023. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. Leonor Fernandez edits our transcripts. We had technical help from Voice Trax West in Studio City, California. Final mixing services provided by Clean Cuts at Three Seas, Inc.

Transcribed - Published: 4 July 2023

On today’s episode, the Royal Shakespeare Company’s former Artistic Director takes a look back at four decades of staging Shakespeare. Greg Doran’s career as a Shakespearean director began in the late 1970s, when he was a teenager. By the time he stepped down as the Artistic Director of the Royal Shakespeare Company earlier this year, Doran had directed every play in the First Folio, capping off the feat with an acclaimed production of Cymbeline. In between, Doran helmed era-defining productions of Shakespeare’s plays and worked with actors such as Judi Dench, David Tennant, Patrick Stewart, and the late Antony Sher, to whom Doran was married. Doran’s new memoir, My Shakespeare, tells the story of his life through the plays he has directed. It’s a portrait of an artist at work, shot through with commentary about the plays themselves and insights about working with actors. It’s also an intimate account of Doran’s deep artistic partnership with Tony Sher. Greg Doran is interviewed by Barbara Bogaev. My Shakespeare: A Director’s Journey Through the First Folio, is available from Methuen Drama. From our Shakespeare Unlimited podcast. Published June 20, 2023. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. Leonor Fernandez edits our transcripts. We had technical help from Melvin Rickarby in Stratford and Voice Trax West in Studio City, California. Final mixing services provided by Clean Cuts at Three Seas, Inc.

Transcribed - Published: 20 June 2023

Start with Shakespeare’s "star-crossed" lovers and fold in the songs of Swedish pop hitmaker Max Martin… what do you get? The hit Broadway musical & Juliet, currently running at the Stephen Sondheim Theatre in New York and nominated for nine Tony Awards, including Best Musical and Best Book of a Musical. The show imagines what would happen if Juliet woke up after Romeo’s death and decided not to end it all. Instead, she goes on a trip to Paris with some new friends, including Shakespeare and Anne Hathaway. Juliet discovers that Romeo isn’t really dead… but he’s also not exactly boyfriend material. And every so often, the characters break into song with Max Martin’s hits for Britney Spears, Backstreet Boys, and Katy Perry. The writer behind this mash-up is David West Read. He previously served as writer and executive producer of the comedy series Schitt’s Creek, and he created The Big Door Prize and the forthcoming Brother from Another Mother, both running on AppleTV+. Host Barbara Bogaev talks with Read about & Juliet… and the concussion that inspired it. Get tickets to & Juliet here, and tune in to the Tonys broadcast on Sunday, June 11 at 8 pm ET on CBS. From our Shakespeare Unlimited podcast. Published June 6, 2023. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. Leonor Fernandez edits our transcripts. We had technical help from Claire Reynolds in Atlanta and Voice Trax West in Studio City, California. Final mixing services provided by Clean Cuts at Three Seas, Inc.

Transcribed - Published: 6 June 2023

Robert O’Hara joins us to talk about directing last year’s Shakespeare in the Park production of Richard III, starring Danai Gurira of Marvel's "Black Panther." He tells us about gathering a diverse cast of actors with disabilities, wanting to “trigger” his audiences, and what it’s like to get a call about directing Shakespeare in the Park (spoiler: it’s a whirlwind). Robert O’Hara is interviewed by Barbara Bogaev. A film of Richard III premiered on PBS’s Great Performances on Friday, May 19, and is streaming now on the PBS App and at pbs.org/gperf. Robert O’Hara is a two-time Obie Award and two-time NAACP Award Winner whose work has been seen around the country. He was nominated for a Tony Award for his direction of Jeremy O. Harris’s Slave Play. From our Shakespeare Unlimited podcast. Published May 23, 2023. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. Leonor Fernandez edits our transcripts. We had technical help from CDM Studios in New York and Voice Trax West in Studio City, California. Final mixing services provided by Clean Cuts at Three Seas, Inc.

Transcribed - Published: 23 May 2023

2023 marks the 400th anniversary of the publishing of the First Folio, the first collected edition of Shakespeare's plays. Eighteen of those plays, including Macbeth, Twelfth Night, and The Tempest, had never been published before they appeared in the First Folio, which means that without it, they might have been lost. But how did the First Folio come to be? It turns out that this book's story has enough twists to fill out a five-act play. It has its own heroes, villains, and political subtext. And the success of the Folio itself was far from a sure thing. Dr. Chris Laoutaris's new book, Shakespeare’s Book: The Story Behind the First Folio and the Making of Shakespeare, re-examines everything we thought we knew about the publication of the First Folio, and uncovers some new information in the archives. He is interviewed by Barbara Bogaev. Chris Laoutaris is a biographer, historian, poet, Shakespeare scholar, and Associate Professor at The Shakespeare Institute in Stratford-Upon-Avon, England. He is the Co-Founder and Co-Chair of the Shakespeare Beyond Borders Alliance and the Co-Founder of the EQUALityShakespeare (EQUALS) initiative. He is also the author of Shakespeare and the Countess: The Battle that Gave Birth to the Globe. Shakespeare’s Book: The Story Behind the First Folio and the Making of Shakespeare is out now from Pegasus Books. From our Shakespeare Unlimited podcast. Published May 9, 2023. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. Leonor Fernandez edits our transcripts. We had technical help from Melvin Rickarby in Stratford-upon-Avon and Andy Plovnick at Bunker Studios in Brooklyn. Final mixing services provided by Clean Cuts at Three Seas, Inc.

Transcribed - Published: 9 May 2023