Chantelle Thauvette (Three Ladies of London1592 Q2 text) completed her PhD in English and Cultural Studies, 2013, at McMaster, with a Doctoral Diploma in Gender Studies and Feminist Research. She has published a book chapter in Magic, Marriage, and Midwifery: Eroticism in the Middle Ages and the Renaissance (Turnhout: Brepols, 2014), and articles in SEL: Studies in English Literature, The Journal for Early Modern Cultural Studies, The Journal for Early Modern Cultural Studies, and has presented papers at interdisciplinary early modern conferences including the Renaissance Society of America, the Canadian Society for Renaissance Studies, Shakespeare Association of America, and the Society for the Study of Early Modern Women. She can be contacted at cthauvette@siena.edu.

Erin Julian (Three Ladies of London, performance) completed her SSHRC-funded dissertation (Laughing Matters: Sexual Violence in Jacobean and Caroline Comedy) in English and Cultural Studies in 2014 at McMaster. She currently holds a SSHRC Postdoctoral Fellowship at Western University (Rape Under Erasure in Early/Modern Shakespeare). Her recent publications include Review Essay: New Directions in Jonson Criticism for Early Theatre 17.1 (2014) and (co-authored with Helen Ostovich) Pedagogical and Web Resources in Julian and Ostovich (eds), The Alchemist: A Critical Reader(Bloomsbury, 2013). She is also co-editor of The Dutch Courtesan for the Complete Works of John Marston (OUP, forthcoming) and editor of the website associated with the performance of the play in March 2019. Her essay on performance, Our hurtless mirth: What’s Funny about The Dutch Courtesan? appears in Early Theatre 23.1 (2000), the special issue on Marston’s play. She can be contacted at ejulian@uwo.ca.

Helen Ostovich, professor emerita of English at McMaster University, is the founder and general editor of Queen’s Men Editions. She is a general editor of The Revels Plays (Manchester University Press); Series Editor of Studies in Performance and Early Modern Drama (Ashgate, now Routledge), and series co-editor of Late Tudor and Stuart Drama (MIP); play-editor of several works by Ben Jonson, in Four Comedies: Ben Jonson (1997); Every Man Out of his Humour (Revels 2001); and The Magnetic Lady (Cambridge 2012). She has also edited the Norton Shakespeare 3 The Merry Wives of Windsor Q1602 and F1623 (2015); The Late Lancashire Witches and A Jovial Crew for Richard Brome Online, revised for a 4-volume set from OUP 2021; The Ball, for the Oxford Complete Works of James Shirley (2021); The Merry Wives of Windsor for Internet Shakespeare Editions, and The Dutch Courtesan (with Erin Julian) for the Complete Works of John Marston, OUP 2022. She has published many articles and book chapters on Jonson, Shakespeare, and others, and several book collections, most recently Magical Transformations of the Early Modern English Stage with Lisa Hopkins (2014), and the equivalent to book website, Performance as Research in Early English Theatre Studies: The Three Ladies of London in Context containing scripts, glossary, almost fifty conference papers edited and updated to essays; video; link to Queen’s Mens Ediitons and YouTube: http://threeladiesoflondon.mcmaster.ca/contexts/index.htm, 2015. Recently, she was guest editor of Strangers and Aliens in London ca 1605, Special Issue on Marston, Early Theatre 23.1 (June 2020). She can be contacted at ostovich@mcmaster.ca.

Jessica Dell (Three Ladies of London, Q1 1584) defended her doctoral dissertation, Vanishing Acts: Absence, Gender, and Magic in Early Modern Drama, 1558–1642, in September 2014 at McMaster University. In 2016, she became a full-time instructor at Aurora College (NWT) in the Bachelor of Education program which partners with the University of Saskatchewan and the Indian Teacher Education Program (ITEP). Recent publications include A witch, a quean, an old cozening quean!: Image Magic and Shakespeare’s The Merry Wives of Windsor in Magical Transformations on the Early Modern English Stage (2014) and, with David Klausner and Helen Ostovich, co-edited The Chester Cycle in Context, 1555–1575: Religion, Drama, and the Impact of Change (2012). She can be contacted at Jdell@auroracollege.nt.ca.

Project Manager, 2020–2021. Assistant Project Manager, 2019–2020. Textual Remediator and Encoder, 2019–2021. Kate LeBere completed her BA (Hons.) in History and English at the University of Victoria in 2020. During her degree she published papers in The Corvette (2018), The Albatross (2019), and PLVS VLTRA (2020) and presented at the English Undergraduate Conference (2019), Qualicum History Conference (2020), and the Digital Humanities Summer Institute’s Project Management in the Humanities Conference (2021). While her primary research focus was sixteenth and seventeenth century England, she completed her honours thesis on Soviet ballet during the Russian Cultural Revolution. She is currently a student at the University of British Columbia’s iSchool, working on her masters in library and information science.

Matthew Krist was an actor with Shakespeare and the Queen’s Men Project. He played Rafe Simnell, Richard, Friar Bungay, and Devil in Friar Bacon and Friar Bungay (2006) and Ned, Cobbler’s Wife, and Drummer in Famous Victories (2006).

Training and Documentation Lead 2025–present. LEMDO project manager 2022–2025. Textual remediator 2021–present. Navarra Houldin (they/them) completed their BA with a major in history and minor in Spanish at the University of Victoria in 2022. Their primary research was on gender and sexuality in early modern Europe and Latin America. They are continuing their education through an MA program in Gender and Social Justice Studies at the University of Alberta where they will specialize in Digital Humanities.

Navid Jalali (He/Him) is a game enthusiast, literary translator, and prospective PhD student of English at McMaster University, Hamilton, Ontario. During his MA at Mac, he researched the role of literary fiction in making as well as addressing problems of the Anthropocene. Having his fascination with Shakespeare’s playtexts reignited through the chance to teach several tutorials on Shakespearean drama as an MA student, his doctoral thesis seeks to reshape the landscape of teaching plays from Shakespeare’s era by harnessing the potential of digital humanities to infuse aesthetics and creativity into the educational process. More information about Navid’s work can be found on his LinkedIn page.

Noam Lior (Clyomon and Clamydes, performance) is a doctoral student at the University of Toronto, and has dramaturged and directed plays by Shakespeare, Webster, and Marivaux as well as developing productions of new Canadian plays. For the past several years, he has specialized in staging delightfully obscure early modern plays for the Drama Centre and PLS; recently the anonymous Clyomon and Clamydes, the (differently) anonymous New Custom, and Robert Daborne’s A Christian Turn’d Turk (produced in conjunction with the Jackman Humanities conference Early Modern Migrations: Exiles, Expulsion, & Religious Refugees, 1400–1700). He is the co-developer of Shakespeare at Play, an app combining digital editions of Shakespearean plays with embedded video performances which he co-directed, dramaturged, edited, and annotated. His essay on directing The Dutch Courtesan (March 2019) Unwholesome Reversions: Contagion as Dramaturgy in The Dutch Courtesan, appeared in Early Theatre 23.1 (2000) in the special issue on Marston’s play. He can be contacted at noam.lior@mail.utoronto.ca.

Peter Cockett is an associate professor in the Theatre and Film Studies at McMaster University. He is the general editor (performance), and technical co-ordinating editor of Queen’s Men Editions. He was the stage director for the Shakespeare and the Queen’s Men project (SQM), directing King Leir, The Famous Victories of Henry V, and Friar Bacon and Friar Bungay (2006) and he is the performance editor for our editions of those plays. The process behind those productions is documented in depth on his website Performing the Queen’s Men. Also featured on this site are his PAR productions of Clyomon and Clamydes (2009) and Three Ladies of London (2014). For the PLS, the University of Toronto’s Medieval and Renaissance Players, he has directed the Digby Mary Magdalene (2003) and the double bill of George Peele’s The Old Wives Tale and the Chester Antichrist (2004). He also directed An Experiment in Elizabethan Comedy (2005) for the SQM project and Inside Out: The Persistence of Allegory (2008) in collaboration with Alan Dessen. Peter is a professional actor and director with numerous stage and screen credits. He can be contacted at cockett@mcmaster.ca.

Actor with the Queen’s Men. See Robert Wilson (d. 1600).

The Queen’s Men Editions anthology is led by Helen Ostovich, General Editor; Peter Cockett, General Editor (Performance); and Andrew Griffin, General Editor (Text).