Shakespeare Bulletin最新文献

{"title":"Scripts of Blackness: Early Modern Performance Culture and the Making of Race by Noémie Ndiaye (review)","authors":"","doi":"10.1353/shb.2023.a910454","DOIUrl":"https://doi.org/10.1353/shb.2023.a910454","url":null,"abstract":"Reviewed by: Scripts of Blackness: Early Modern Performance Culture and the Making of Race by Noémie Ndiaye Maya Mathur Scripts of Blackness: Early Modern Performance Culture and the Making of Race. By Noémie Ndiaye. Philadelphia, PA: University of Pennsylvania Press, 2022. Pp. 376. Hardcover $64.95. Ebook $64.95. Scripts of Blackness: Early Modern Performance Culture and the Making of Race by Noémie Ndiaye is a groundbreaking investigation into three modes of racialization—cosmetic, acoustic, and kinetic—that were produced in the theaters of Spain, France, and England across two centuries. The book enriches existing studies of race and performance by departing from the conventional focus on a single nation and limited period and instead highlighting the correspondences between the racial paradigms produced in these countries. Ndiaye defines \"scripts of blackness\" as forms of racial impersonation that shaped \"how Afro-diasporic characters looked, sounded, and moved in various performance settings\" (16) and examines their impact on a range of performances, from religious processions and street dances to aristocratic ballets and court masques. These performances provide the backdrop for Ndiaye's analysis of representative plays that underline the relationship between theatrical techniques and cultural attitudes towards Blackness. While the book offers new readings of well-known dramatists including Shakespeare, Dryden, Lope de Vega, and Molière, among others, its strength lies in its ability to place these playwrights in conversation with lesser-known dramatists, performers, and performance techniques. Equally importantly, the book locates the titular \"scripts of blackness\" in the cities of Seville, Rouen, and London, all of which were centers of the transatlantic slave trade with significant Afro-diasporic populations. Focusing on these sites allows Ndiaye to demonstrate that racial scripts developed to counter the perceived threat of Afro-diasporic communities in Europe and non-white subjects in colonized nations. Investigating the sites of racecraft also reinforces Ndiaye's claim that premodern performance culture \"did not passively reflect the intercolonial emergence of blackness as a racial category but actively fostered it\" (10). At the same time, Ndiaye shows that racializing techniques were far from hegemonic by examining those instances when Afro-diasporic performers could assert their agency and challenge the dominant narrative. Ndiaye's comparative and transversal approach helps drive home the broader point that racial scripts [End Page 325] could be distinct to the places in which they were produced, part of a shared vocabulary that transcended national boundaries, and was wielded by both dominant and minoritized populations. The book makes a strong case for the exclusionary and commodifying nature of racial scripts in its opening chapter, which investigates \"the prosthetic techniques of embodiment\" (2), including masks and makeup that ","PeriodicalId":304234,"journal":{"name":"Shakespeare Bulletin","volume":"70 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135194925","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Tempest by Round House Theatre (review)","authors":"","doi":"10.1353/shb.2023.a910449","DOIUrl":"https://doi.org/10.1353/shb.2023.a910449","url":null,"abstract":"","PeriodicalId":304234,"journal":{"name":"Shakespeare Bulletin","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135194915","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Richard III: Why I Did It by 26th İstanbul Theater Festival in collaboration with Tiyatro Gerçek at Alan Kadıköy (review)","authors":"","doi":"10.1353/shb.2023.a910452","DOIUrl":"https://doi.org/10.1353/shb.2023.a910452","url":null,"abstract":"","PeriodicalId":304234,"journal":{"name":"Shakespeare Bulletin","volume":"41 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135194922","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Twelfth Night by Shakespeare Theatre of New Jersey at the F. M. Kirby Shakespeare Theatre (review)","authors":"","doi":"10.1353/shb.2023.a910450","DOIUrl":"https://doi.org/10.1353/shb.2023.a910450","url":null,"abstract":"Reviewed by: Twelfth Nightby Shakespeare Theatre of New Jersey at the F. M. Kirby Shakespeare Theatre Barbara Ann Lukacs Twelfth NightPresented by the Shakespeare Theatre of New Jersey at the F. M. Kirby Shakespeare Theatre, Drew University, Madison, NJ. 712 2022– 101 2023. Directed by Jason King Jones. Set design by Brittany Vasta. Costume design by Hugh Hanson. Lighting design by Andrew Hungerford. Sound design by Steven Beckel. Music composed by Cedric Lamar. Fight direction by Doug West. Stage management by Denise Cardarelli. Assistant stage management/Fight captain Isaac Hickox-Young. With Jeffrey Marc Alkins (Sebastian), Jon Barker (Duke Orsino), Jeffrey M. Bender (Sir Toby Belch), Jabari Carter (Curio/Officer 1), Robert Cuccioli (Malvolio), Dino Curia (Antonio), Jeffrey Dunston (Sea Captain/Priest), Tarah Flanagan (Maria), Cedric Lamar (Feste), Ty Lane (Fabian), Cameron Nalley (Valentine/Officer 2), Eliana Rowe (Viola), Patrick Toon (Sir Andrew Aguecheek), and Billie Wyatt (Olivia). [End Page 305] The Shakespeare Theatre of New Jersey concluded its 2022 offerings with a thoughtful and perfectly cast production of Twelfth Nightto celebrate the Christmas season. Director Jason King Jones's vision for what is one of Shakespeare's most popular comedies captured the spirit of the Twelfth Night revelry that traditionally marked the end of Christmastide. Notable were Jones's expanded treatment of Shakespeare's songs and his addition of two extra-textual actions with no dialogue, one that depicted Orsino's awakening to his amorous feelings toward Viola/Cesario, and one that added a bittersweet tone to the ending of the play. Jones enlisted Cedric Lamar (Feste) to compose accompaniments to the lyrics in the musical style of Shakespeare's day and to perform the songs while playing a baritone ukulele, accompanied on occasion by guitarist Dino Curia, who also played Antonio in this production. In some instances, songs that are musical fragments in the play-text were lengthened to full renditions through judicious editing. The set consisted of sand-colored walls covered with a star-like tessellation pattern. Three stars hung from above and a fourth star was fastened to a corner of one of the walls. The star motif was repeated in the shape of the candle holders carried by Olivia and Sir Toby Belch in their respective first appearances onstage. A centrally located open staircase with a large landing also featured prominently in the set. The staircase led up to an upper playing area that was surrounded by a low wall. Round-arched windows in the walls provided a means for some of the characters to observe and hear activities on the lower level while remaining concealed. Round-arched doorways at either end of the set provided for entries and exits. The back wall evoked a clear blue sky. On each side of the stage were three tall panels of sheer curtains that, with lighting variations, changed from white to pale pink. Three plain white stone backless benches ","PeriodicalId":304234,"journal":{"name":"Shakespeare Bulletin","volume":"257 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135194931","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"White People in Shakespeare: Essays on Race, Culture and the Elite ed. by Arthur L. Little, Jr. (review)","authors":"","doi":"10.1353/shb.2023.a910456","DOIUrl":"https://doi.org/10.1353/shb.2023.a910456","url":null,"abstract":"Reviewed by: White People in Shakespeare: Essays on Race, Culture and the Elite ed. by Arthur L. Little, Jr. Virginia Mason Vaughan White People in Shakespeare: Essays on Race, Culture and the Elite. Edited by Arthur L. Little, Jr. London: Bloomsbury, 2023. Pp. xviii + 298. Hardcover $81.00. Paperback $26.95. E-book $21.56. Arthur L. Little, Jr.'s edited collection, White People in Shakespeare, is a thought-provoking introduction to the burgeoning new field of early modern critical white studies. Little brings together a diverse group of academics to interrogate the role that Shakespeare played and still plays in the development and continuation of white supremacy. In graduate school during the 1970s I can't recall anyone ever mentioning early modern race as a topic for discussion. Only later, after I began work on Othello's historical context by reading the work of pioneers in early modern race studies—Anthony Gerard Barthelemy, Joyce Green MacDonald, Margo Hendricks, Sujata Iyengar, Dennis Britton, Ian Smith, and Ayanna Thompson, just to name a few—did I think seriously about early modern constructions of race. But, as Little explains, late twentieth- and early twenty-first-century studies of early modern race were focused on Blackness, often with the assumption that it was only after England joined the slave trade that the English began to consider Black people a \"race.\" Except for the prescient work of Kim F. Hall, Gary Taylor, and Peter Erickson, early modern scholars paid little attention to how white English people came to believe in their own superior identity. With this collection of essays—and other studies of early modern whiteness published this year by Farah Karim Cooper, Ian Smith, and Urvashi Chakravarty—Shakespeare's role in the early modern development of white supremacy can no longer be ignored. Little notes that the first recorded use of the term \"white people\" occurred in Thomas Middleton's mayoral pageant, The Triumphs of Truth (1613). Like other mayoral pageants, Middleton's drama was performed before all the people, whether they were aristocrats, tradespeople, or servants, in honor of London's newly installed mayor. In Middleton's pageant a Black king addresses the onlookers as \"white people,\" suggesting whiteness as not simply a characteristic of the elite (e.g. Elizabeth I's famously whitened complexion) but inherent to the English masses. Like Middleton, Shakespeare wrote for a varied audience, and his representation of whiteness as a racial category has served to reinforce the idea of white—\"fair\"—superiority then and now. Consequently, Shakespeare \"remains key to any study of the further emergence of a 'white people' in the late sixteenth and early seventeenth century\" (7). Little divides the nineteen essays of his book into three groups. The first section, \"Shakespeare's White People,\" interrogates the ways in which Shakespeare's plays and poems contribute to the construction of whiteness as a racial category. The sec","PeriodicalId":304234,"journal":{"name":"Shakespeare Bulletin","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135194921","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Shakespeare's Contested Nations: Race, Gender, and Multicultural Britain in Performances of the History Plays by L. Monique Pittman (review)","authors":"","doi":"10.1353/shb.2023.a910455","DOIUrl":"https://doi.org/10.1353/shb.2023.a910455","url":null,"abstract":"Reviewed by: Shakespeare's Contested Nations: Race, Gender, and Multicultural Britain in Performances of the History Plays by L. Monique Pittman Allison Machlis Meyer Shakespeare's Contested Nations: Race, Gender, and Multicultural Britain in Performances of the History Plays. By L. Monique Pittman. New York: Routledge, 2022. Pp. 248. Hardback $170.00. In Shakespeare's Contested Nations: Race, Gender, and Multicultural Britain in Performances of the History Plays, L. Monique Pittman provides a thoughtful and necessary examination of high-status British productions of Shakespearean history during the first decades of the twenty-first century. Pittman's six chapters carefully trace the ways these ostensibly progressive performances actually display a postimperial nostalgia that rejects Britain's multiculturalism in favor of a very narrow vision of both nationhood and Shakespeare. In a robust and compelling introduction, Pittman outlines the history plays' potential both to instantiate the exclusionary mechanisms of nationhood and to interrogate those mechanisms. Shakespeare's Contested Nations argues that modern productions have repeatedly failed to take up the history plays' textual invitations to query the violence and constructed nature of nation-building and have too often staged an \"exclusionary national historiography\" (26) instead. Pittman situates these performance choices in the context of growing nationalism marked by a set of political developments and cultural displays: a conservative backlash to the New Labour government's adoption of multiculturalism as a national policy, crystalized in media responses to the release of The Future of Multi-Ethnic Britain (2000); the nation-building of the Cultural Olympiad accompanying the UK's hosting of the 2012 Olympic Games; and the anti-immigrant narrative of the Brexit referendum (2016). Within this context of a Conservative-led government's rejection of multiculturalism and movement toward nativism, Pittman finds that \"the cultural capital of Shakespeare operates in the third millennium to define, reinforce, and occasionally, facilitate critique of British nationhood\" (10). In chapter two, \"Staging the Multiethnic Nation: Boyd and Hytner at the Millennial Threshold,\" Pittman examines a set of six history play productions at the beginning of the new millennium—including Michael Boyd's Henry VI cycle (2000–2001) for the Royal Shakespeare Company and Nicholas Hytner's Henry [End Page 329] V (2003) for the National Theatre—that, she argues, \"instantiate provocative experimentation with the rules of colorblind casting and visual codes of race\" (39). Reading these productions alongside negative public response to The Future of Multi-Ethnic Britain's call for broadened artistic representation of British multicultural identities, Pittman asserts that this suite of plays prefigured a postimperial national nostalgia that emerged even more stridently in later productions. Pittman sees Boyd's and Hytner's ","PeriodicalId":304234,"journal":{"name":"Shakespeare Bulletin","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135194926","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Winter's Tale by Shakespeare's Globe (review)","authors":"","doi":"10.1353/shb.2023.a910451","DOIUrl":"https://doi.org/10.1353/shb.2023.a910451","url":null,"abstract":"","PeriodicalId":304234,"journal":{"name":"Shakespeare Bulletin","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135194929","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Ophelia by Bread and Puppet Theater at Theater for the New City (review)","authors":"","doi":"10.1353/shb.2023.a910444","DOIUrl":"https://doi.org/10.1353/shb.2023.a910444","url":null,"abstract":"Reviewed by: Opheliaby Bread and Puppet Theater at Theater for the New City Geoffrey Lokke OpheliaPresented by Bread and Puppet Theater at Theater for the New City, New York, NY. 8–1812 2022. Directed by Peter Schumann. With Ziggy Bird, Teresa Camou, Adam Cook, Gideon Crevoshay, Maura Gahan, Alicia Gerstein, David Guzman, Peter Hamburger, May Hathaway, Ira Karp, Esteli Kitchen, Ariella Mandel, Idith Meshulam, Damian Norfleet, Raphael Royer, Elsa Saade, Maria Schumann, Dalila Trottola, and others. Bread and Puppet, a Vermont-based company that has been led by founder Peter Schumann since the early 1960s, has had a marked influence on contemporary puppetry in America and beyond. Schumann's many acolytes and collaborators include major puppetry-based artists such as Julie Taymor, Roman Paska, and Massimo Schuster; likewise, according to puppetry historian John Bell, a number of significant theater companies have been directly inspired by Schumann's giant puppetry, theatrical circus, stilt dancing, and/or community-based Leftist politics, including Amy Trompetter's Redwing Black Bird Theater, Chicago's Redmoon Theater, and Les Échassiers de Baie-Saint-Paul, which later became Cirque du Soleil. In recent years, Schumann's productions have ranged from didactic cabarets with skits focused on police brutality, reparations, industrial action, and Israeli apartheid, to more confounding and, in a sense, exegetically demanding adaptations of classical plays, including Aeschylus's The Persians, a work of lament staged directly following the death of Schumann's wife and collaborator, Elka. Bread and Puppet Theater's recent Hamletadaptation, entitled Ophelia, was also an elegiac piece, which, as my partner Lachlan Brooks noticed, set the last moments of its heroine's life to a sepulchral, choral arrangement of Gluck's aria \"Che farò senza Euridice\" from his 1762 opera Orfeo ed Euridice. Before the twentieth century, according to Ralph Berry, Shakespearean doubles were not considered to be \"conceptual\"; rather, the doubling of roles for a single actor was done simply out of necessity (due to limitations in the number of actors), or as a vehicle for a performer to demonstrate his or her virtuosity (204). Conceptual doubling, however, \"brings a hidden relationship to light,\" in which the meaning of the production depends on viewers engaging this relationship (208). Radical or avant-garde doubling, then, requires viewers to make senseof the proposed relationship, and invites the audience to assess the legitimacyof the linkage. Moreover, experimental forms of doubling necessarily do something to Shakespeare's words and their perceived substance. Opheliawas perhaps more radical [End Page 281]than most, and its mesmerizing effects both transformed the genre of Hamlet's utterances from lyric to oracle, and frustrated viewers like myself as we self-consciously engaged the enmindment of doubled performers. The doubling at the heart of Opheliawas between the title charact","PeriodicalId":304234,"journal":{"name":"Shakespeare Bulletin","volume":"338 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135194933","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Rosaline by 20th Century Studios and 21 Laps Entertainment (review)","authors":"","doi":"10.1353/shb.2023.a910448","DOIUrl":"https://doi.org/10.1353/shb.2023.a910448","url":null,"abstract":"Reviewed by: Rosalineby 20th Century Studios and 21 Laps Entertainment Austen Bell RosalineProduced by 20th Century Studios and 21 Laps Entertainment, streaming on Hulu from 1410 2022. Directed by Karen Maine. Written by Scott Neustadter and Michael H. Weber. Cinematography by Laurie Rose. Production design by Andrew McAlpine. Costume design by Mitchell Travers. With Kaitlyn Dever (Rosaline), Isabela Merced (Juliet), Sean Teale (Dario Penza), Kyle Allen (Romeo), Spencer Stevenson (Paris), Bradley Whitford (Adrian Capulet), Minnie Driver (Nurse Janet), and others. Shakespeare's plays abound in anachronism. Julius Caesarhas its striking clock, Falstaff sings his broadside ballads, and some purported ancient Greeks and Romans are quite Christian in their theology. Karen Maine's 2022 romantic comedy Rosaline, the story of \"Romeo's ex,\" commits to this extremely Shakespearean tradition. Kaitlyn Dever's Rosaline in particular almost seems to be looking through time; with the assumptions, goals, and expectations of a twenty-first century romantic comedy heroine, she sees the Italian Renaissance aesthetic around her as restrictive and foolish. When this juxtaposition functions to connecthistory and modernity, it is playful and engaging. Too often, however, it's difficult to justify Rosaline's light-hearted chronological snobbery; the film sets up the cynical, postmodernist romantic comedy as the solution to the problems of an overly-emotional Elizabethan tragedy, yet fails to deal with what is problematic within the romcom genre. Rosalinefollows the titular Rosaline, a Capulet and an aspiring cartographer, through the end of her relationship with Romeo Montague (Kyle Allen). Her friends Paris (Spencer Stevenson) and Nurse Janet (Minnie Driver) suspect that she is only interested in Romeo because of the danger, but she never seriously doubts her commitment until the first time Romeo tells her he loves her, when she freezes. He takes her silence as rejection, heads off to the Capulet ball, meets Rosaline's cousin Juliet (Isabela Merced), and promptly falls in love. When Rosaline sees him climbing Juliet's balcony just the way he climbed hers—even echoing some of his poetic words—she decides to win him back by befriending [End Page 297]Juliet and exposing Romeo's fickleness (though without revealing herself as the former object of his affections). But Rosaline's plan has three complications: firstly, her genuine growing attachment to Juliet; secondly, the presence of inconveniently attractive young soldier Dario Penza (Sean Teale); and thirdly, the plot of Romeo and Julietoccurring in the background. Rosaline's primary relationship to its source material is one of setup and subversion. In the opening scene Romeo, clinging to the balcony railing and gazing into the distance, rhapsodizes, \"I never saw true beauty till this night. …\" Rosaline, trying to follow his gaze with her eyes, responds, \"Why are you talking like that?\" This comment is enough to move the","PeriodicalId":304234,"journal":{"name":"Shakespeare Bulletin","volume":"257 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135194917","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"A Midsummer Night’s Dream (review)","authors":"M. Collins","doi":"10.1353/shb.2022.0052","DOIUrl":"https://doi.org/10.1353/shb.2022.0052","url":null,"abstract":"A Midsummer Night’s Dream Presented by Folger Theatre in association with the National Building Museum and the University of South Carolina, Washington, DC. 12 July–28 August 2022. Directed by Victor Malana Maog. Production design by Tony Cisek. Festival stage design by Jim Hunter. Costume design by Olivera Gajic. Lighting design by Yael Lubetzky. Original music and sound design by Matthew M. Neilson. Choreography by Alexandra Beller. Fight choreography by Cliff Williams III. With Rotimi Agbabiaka (Theseus/Oberon), Bryan Barbarin (Demetrius), Renea S. Brown (Helena), Danaya Esperanza (Egeus/Puck), John Floyd (Flute), Brit Herring (Snout), Lilli Hokama (Hermia), Hunter Ringsmith (Lysander), Jacob Ming-Trent (Bottom), Nubia M. Monks (Hippolyta/Titania), Shinji Elspeth Oh (Philostrate), John-Alexander Sakelos (Peter Quince), Sabrina Lynne Sawyer (Snug), and Kathryn Zoerb (Starveling).","PeriodicalId":304234,"journal":{"name":"Shakespeare Bulletin","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128726419","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}