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Posts by Dr. Benjamin Broadribb

An image of the company of Romeo and Juliet dancing a hoedown with the text “The oscillation from moments of extreme tragedy to comedy to violence throughout the production created a tonal volatility that did not always allow for the softer moments of the story to come through. While the production's Western aesthetic invigorated the play's humor and conflict, it sometimes left the emotional core of Romeo and Juliet underexplored” over a green background with the SB logo.

An image of the company of Romeo and Juliet dancing a hoedown with the text “The oscillation from moments of extreme tragedy to comedy to violence throughout the production created a tonal volatility that did not always allow for the softer moments of the story to come through. While the production's Western aesthetic invigorated the play's humor and conflict, it sometimes left the emotional core of Romeo and Juliet underexplored” over a green background with the SB logo.

Ceola Daly reviews Shakespeare's Globe’s 2025 production of Romeo and Juliet, directed by Sean Holmes

📰: muse.jhu.edu/article/985861

📷: Tristram Kenton

1 day ago 2 2 0 0
An image of the company of The Merchants of Venice, dancing in a diagonal line with the text “As the choral finale of this musical adaptation celebrated the victory over Shylock, the audience joined in by clapping along and even standing. What enabled this perhaps surprising phenomenon was not Korean unawareness of global affairs, but changes wrought on the original play, beginning with the title.” over a green background with the SB logo.

An image of the company of The Merchants of Venice, dancing in a diagonal line with the text “As the choral finale of this musical adaptation celebrated the victory over Shylock, the audience joined in by clapping along and even standing. What enabled this perhaps surprising phenomenon was not Korean unawareness of global affairs, but changes wrought on the original play, beginning with the title.” over a green background with the SB logo.

Yu Jin Ko reviews the National Changgeuk Company of Korea’s 2025 production of The Merchants of Venice, directed by Sung-youl Lee

📰: muse.jhu.edu/article/985857

📷: National Changgeuk Company of Korea

1 day ago 6 2 1 0
An image of the company standing center stage with a large, metal puppet looming over them, with the text “Carrick's intention of crafting a Hamlet that was "accessible and fun for all" was fully realized, cleverly interweaving fidelity to Shakespeare's language with modern language improvisation and song and dance interludes.” over a green background with the SB logo.

An image of the company standing center stage with a large, metal puppet looming over them, with the text “Carrick's intention of crafting a Hamlet that was "accessible and fun for all" was fully realized, cleverly interweaving fidelity to Shakespeare's language with modern language improvisation and song and dance interludes.” over a green background with the SB logo.

Isobel Strevens reviews the Red Rose Chain Theatre Company’s 2025 production of Hamlet, directed by Joanna Carrick

🎭: www.redrosechain.com/theatre-in-t...

📰: muse.jhu.edu/article/985852

📷: Bill Jackson

4 days ago 4 3 0 1
An image of Hamlet (Patrick Ball) kneeling center stage with his head in his hands, with the text “This production was half Shakespeare and half O'Hara; it seemed that the first half of this production asked questions of Hamlet, and the second half demanded answers.” over a green background with the SB logo.

An image of Hamlet (Patrick Ball) kneeling center stage with his head in his hands, with the text “This production was half Shakespeare and half O'Hara; it seemed that the first half of this production asked questions of Hamlet, and the second half demanded answers.” over a green background with the SB logo.

Emily Parise reviews the Center Theatre Group’s 2025 production of Hamlet, directed by Robert O'Hara

🎭: www.centertheatregroup.org/shows-ticket...

📰: muse.jhu.edu/article/985854

📷: Jeff Lorch

4 days ago 2 2 1 0
An image of Claudius (Paul Hilton) arms out center stage with members of the company behind him, backlit with bright stage lights, with the text “The production created a beautiful collage of the heavily edited Shakespearean text, fragmented bits and pieces of some of Radiohead's greatest songs, and deeply physical movement work, which together propelled Hamlet to new heights.” over a green background with the SB logo.

An image of Claudius (Paul Hilton) arms out center stage with members of the company behind him, backlit with bright stage lights, with the text “The production created a beautiful collage of the heavily edited Shakespearean text, fragmented bits and pieces of some of Radiohead's greatest songs, and deeply physical movement work, which together propelled Hamlet to new heights.” over a green background with the SB logo.

Erin Rachel Kaplan reviews the Royal Shakespeare Company’s 2025 production of Hamlet Hail to the Thief, directed by Steven Hoggett and Christine Jones

🎭: www.rsc.org.uk/hamlet-hail-...

📰: muse.jhu.edu/article/985853

📷: Manuel Harlan

1 week ago 4 2 0 0
An image of Launce (Geoffrey Warren Barnes II) in striped red stockings, holding one shoe in his hand and the leash of Crab (Lady), a white hound with black ears, in the other, with the text “Even in the preshow entertainment, the American Shakespeare Center's (ASC) staging of The Two Gentlemen of Verona displayed a buoyant façade that belied dark elements of Shakespeare's early comedy, which were preserved but softened.” over a green background with the SB logo.

An image of Launce (Geoffrey Warren Barnes II) in striped red stockings, holding one shoe in his hand and the leash of Crab (Lady), a white hound with black ears, in the other, with the text “Even in the preshow entertainment, the American Shakespeare Center's (ASC) staging of The Two Gentlemen of Verona displayed a buoyant façade that belied dark elements of Shakespeare's early comedy, which were preserved but softened.” over a green background with the SB logo.

Noel Sloboda reviews the American Shakespeare Center’s 2025 production of The Two Gentlemen of Verona, directed by Aidan O'Reilly

🎭: americanshakespearecenter.com/events/the-t...

📰: muse.jhu.edu/article/985862

📷: Lindsey Walters

1 week ago 3 2 1 0
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Today’s Extra Credit focuses on Peter Kirwan’s interview with Aidan O'Reilly and Vanessa Morosco about Aidan's experience of being the first blind director to work at the American Shakespeare Center. Check out these open-access resources!

📰: muse.jhu.edu/pub/1/articl...

2 weeks ago 7 4 1 0
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Today’s Extra Credit focuses on Mark Thornton Burnett and N.P. Ashley's article exploring caste in the Malayam-language reworking of Othello, Iru. Check out these open-access resources to go along with this open-access article!

📰: muse.jhu.edu/pub/1/articl...

1 week ago 5 2 1 0

If you're at #shax2026 and you would like to write a performance review for @shaxbull.bsky.social, or you'd just like to find out more about it, then please come and say hello to me! I look like my profile picture (minus Paul Revere pointing at me) and I'd love to talk to you 🙂

2 weeks ago 7 8 1 0
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a group of people standing in front of a wall that says thou ALT: a group of people standing in front of a wall that says thou

Heartfelt thanks to @gemmaallred.bsky.social and @edelsemple.bsky.social, two co-conveners both alike in brilliance. A pleasure and privilege to bring this seminar to fruition with you! ❤️‍🔥 #Shax2026

2 weeks ago 5 0 0 0
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My first experience of convening a seminar at @saaupdates.bsky.social could not have been better. Immense thanks to everyone who contributed to Baz Luhrmann's 'William Shakespeare's Romeo + Juliet' at Thirty seminar. Your papers, discussions and questions were all fantastic. #Shax2026

2 weeks ago 18 2 1 1

The issue concludes with two book reviews, featuring To Gender or Not to Gender: Casting and Characters for 21st Century Shakespeare, by Margaret K. Oakes, and the collection None a Stranger There: England and/in Europe on the Early Modern Stage, edited by Scott Oldenburg and Matteo Pangallo.

3 weeks ago 7 2 0 0

The issue continues with twelve performance reviews, including a trio of Hamlets from the RSC, Center Theatre Group, and the Red Rose Chain Theatre Company, as well as a dual review of the Public Theater’s Twelfth Night.

3 weeks ago 6 3 1 0

This issue features an exploration of caste in a Malayam reworking of Othello, Iru; a reexamination of the early performance conditions of Dekker's Satiromastix; & an interview with Aidan O'Reilly & Vanessa Morosco about Aidan's experience as the first blind director at the ASC.

3 weeks ago 6 2 1 0

2/... Jennifer A. Low and @terribourus.bsky.social. Thank you to every author who has contributed to this issue 🙌 If you'd like to write an academic performance review for a future issue of @shaxbull.bsky.social then I'd love to hear from you! DM/reply here, or email SBPerformance@marybaldwin.edu 🙂

3 weeks ago 0 0 0 0

SB 43.4 is out now and fully Open Access! The Performance Reviews section features contributions from Noel Sloboda, Erin Rachel Kaplan, Emily Parise, @izzistrevens.bsky.social, Yu Jin Ko, Ceola Daly, Abhirupa Roy, Geoff Ridden, Kathleen Mitchell, Isobel Rose Azar... /1

3 weeks ago 3 1 1 0

Absolutely delighted that my ✨first performance review✨ is published in this issue! I review @redrosechain.bsky.social’s production of ‘Hamlet’ – check it out at muse.jhu.edu/pub/1/articl...

3 weeks ago 1 1 0 0
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The cover of Shakespeare Bulletin 43.4, featuring three black-and-white production images and the SB logo over a green background.

The cover of Shakespeare Bulletin 43.4, featuring three black-and-white production images and the SB logo over a green background.

NEW ISSUE KLAXON: Shakespeare Bulletin 43.4 is now published via Project Muse! Find the final issue of Shakespeare Bulletin's 2025 volume, now fully open access.

📰: muse.jhu.edu/issue/56610

3 weeks ago 11 5 1 3
An image of Hamlet (Esmonde Cole) with his arm around Polonius (Michael Wagg), with the text “[Actors From The London Stage] is committed to using just five actors, and minimal props and costumes, to stage its shows. In fact, the rule is that all the production’s props and costumes must fit in a single suitcase. So significant is this “showcase,” as the company calls it, that the black hardcase sat center stage with Yorick’s skull—Hamlet’s totem—perched upon it to open the show” over a purple background with the SB logo.

An image of Hamlet (Esmonde Cole) with his arm around Polonius (Michael Wagg), with the text “[Actors From The London Stage] is committed to using just five actors, and minimal props and costumes, to stage its shows. In fact, the rule is that all the production’s props and costumes must fit in a single suitcase. So significant is this “showcase,” as the company calls it, that the black hardcase sat center stage with Yorick’s skull—Hamlet’s totem—perched upon it to open the show” over a purple background with the SB logo.

Edel Semple reviews the Actors From The London Stage’s 2025 production of Hamlet

🎭: performingarts.nd.edu/meet-the-art...

📰: muse.jhu.edu/article/981807

📷: Jason Comerford

1 month ago 4 4 0 0
An image of Gertrude (Oneika Phillips) with her hand under the chin of Ophelia (Sabrina Lynne Sawyer), with the text “Lauren M. Gunderson has made her mark writing about women from history and literature [...] Her latest, A Room in the Castle, is a compact and intense reimagining of Hamlet through a feminist lens. The play centers on Ophelia and Gertrude, who find they share far more in common than an interest in Hamlet.” over a purple background with the SB logo.

An image of Gertrude (Oneika Phillips) with her hand under the chin of Ophelia (Sabrina Lynne Sawyer), with the text “Lauren M. Gunderson has made her mark writing about women from history and literature [...] Her latest, A Room in the Castle, is a compact and intense reimagining of Hamlet through a feminist lens. The play centers on Ophelia and Gertrude, who find they share far more in common than an interest in Hamlet.” over a purple background with the SB logo.

Noel Sloboda reviews Folger Theatre and Cincinnati Shakespeare Company’s 2025 production of A Room in the Castle, written by Lauren M. Gunderson, directed by Kaja Dunn

🎭: www.folger.edu/whats-on/a-r...

📰: muse.jhu.edu/article/981809

📷: Erika Nizborski

1 month ago 3 2 1 0
An image of Petruccio (Timur Acar) and Katherina (Melis Birkan) in veils, kneeling in front of a banquet table, with the text “Metatheatricality emerged here as a form of resistance, challenging not only the Shakespearean canon but also the constructed nature of linear narratives, underscoring the production’s ultimate goal to shock, disturb, and alienate.” over a purple background with the SB logo.

An image of Petruccio (Timur Acar) and Katherina (Melis Birkan) in veils, kneeling in front of a banquet table, with the text “Metatheatricality emerged here as a form of resistance, challenging not only the Shakespearean canon but also the constructed nature of linear narratives, underscoring the production’s ultimate goal to shock, disturb, and alienate.” over a purple background with the SB logo.

Burak Urucu reviews Moda Sahnesi’s 2024 production of Şirreti Evcilleştirmek, adapted and directed by Kemal Aydoğan

🎭: www.modasahnesi.com/events/sirre...

📰: muse.jhu.edu/article/981815

📷: Orçun Kaya (Şirreti Evcilleştirmek)

1 month ago 3 2 0 0
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.

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.

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

1 month ago 5 3 0 0
An image of Hamlet (Luke Thallon) center stage with his arms outstretched, with the text “Rupert Goold’s innovative production transferred the state of Denmark to an ocean-going cruise liner of the early twentieth century, akin to the Titanic. The familiar linguistic references to rot and decay were transformed into visual metaphors of a ship destined to sink amidst increasingly stormy seas.” over a purple background with the SB logo.

An image of Hamlet (Luke Thallon) center stage with his arms outstretched, with the text “Rupert Goold’s innovative production transferred the state of Denmark to an ocean-going cruise liner of the early twentieth century, akin to the Titanic. The familiar linguistic references to rot and decay were transformed into visual metaphors of a ship destined to sink amidst increasingly stormy seas.” over a purple background with the SB logo.

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

1 month ago 3 2 0 0
An image of Rosencrantz (Philip Hays) and Guildenstern (Christy Watkins) on either side of Hamlet (Wesley Whitson), who is sitting in a chair and holding Polonius (Philip Lehl) bridal style in his arms, with the text “The deputizing of spectators to fill certain roles (Cornelius, Voltemand, Fortinbras) not only drew attention to the text’s emphasis on metatheatricality, but also deliberately highlighted the considerable challenge of performing a nearly full text of  Hamlet  with a cast of four actors.” over a purple background with the SB logo.

An image of Rosencrantz (Philip Hays) and Guildenstern (Christy Watkins) on either side of Hamlet (Wesley Whitson), who is sitting in a chair and holding Polonius (Philip Lehl) bridal style in his arms, with the text “The deputizing of spectators to fill certain roles (Cornelius, Voltemand, Fortinbras) not only drew attention to the text’s emphasis on metatheatricality, but also deliberately highlighted the considerable challenge of performing a nearly full text of Hamlet with a cast of four actors.” over a purple background with the SB logo.

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

1 month ago 6 3 1 0
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An image of Mortimer (Enzo Cilenti) and Isabella (Ruta Gedmintas) sitting on the edge of a dark stage, with the text “Conflating the 1940s with the present day, Raggett’s vision explored not only the breakdown of power, but also the contemporary echoes of Edward’s plight, particularly through the play’s treatment of racial and gender politics.” over a purple background with the SB logo.

An image of Mortimer (Enzo Cilenti) and Isabella (Ruta Gedmintas) sitting on the edge of a dark stage, with the text “Conflating the 1940s with the present day, Raggett’s vision explored not only the breakdown of power, but also the contemporary echoes of Edward’s plight, particularly through the play’s treatment of racial and gender politics.” over a purple background with the SB logo.

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

1 month ago 3 2 0 0
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.

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.

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

1 month ago 6 4 1 0
An image of Pistol (James Udom), Doll Tearsheet (Cara Ricketts), Sir John Falstaff (Jay O. Sanders), Nym (Slate Holmgren), Bardolph (Elan Zafir), and Prince Hal (Elijah Jones) cheering with their glasses, with the text “What does Prince Hal learn in Henry IV? How to create and lead a band of brothers. Just as the director, Eric Tucker, creatively led a company that embodied and celebrated an exceptionally difficult story.” over a purple background with the SB logo.

An image of Pistol (James Udom), Doll Tearsheet (Cara Ricketts), Sir John Falstaff (Jay O. Sanders), Nym (Slate Holmgren), Bardolph (Elan Zafir), and Prince Hal (Elijah Jones) cheering with their glasses, with the text “What does Prince Hal learn in Henry IV? How to create and lead a band of brothers. Just as the director, Eric Tucker, creatively led a company that embodied and celebrated an exceptionally difficult story.” over a purple background with the SB logo.

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

1 month ago 3 2 0 0
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.

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.

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

1 month ago 4 3 1 0
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.

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.

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

1 month ago 6 3 1 0
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.

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.

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)

1 month ago 4 3 1 0