LEMDO Classroom: Shakespeare and the Queen’s Men: Performance Bibliography

Edition: Famous Victories of Henry VEdition: Sir Clyomon and Sir ClamydesEdition: True Tragedy of Richard IIIEdition: Friar Bacon and Friar BungayEdition: SelimusEdition: King LeirEdition: The Three Ladies of LondonShakespeare and the Queen’s Men: Performance Bibliography

Para1This bibliography is also included in the general anthology bibliography.

Billing, Christian M. Rehearsing Shakespeare: Embodiment, Collaboration, Risk and Play. Shakespeare Bulletin 30.4 (Winter 2012) 383–410. WSB bbbb686.

Bloom, Harold. Shakespeare: the Invention of the Human. New York: Riverhead Books, 1998. WSB aw679.

Carson, Christie, and Farim Karim-Cooper. Shakespeare’s Globe: A Theatrical Experiment. Cambridge: Cambridge University Press, 2008. WSB aaw331.

Cockett, Peter. An Experiment in Elizabethan Comedy. The Shakespeare and the Queen’s Men Project. Glen Morris Studio, January 2006.

Cockett, Peter. The Ghost of Dick Tarlton, Gentleman. The Queen’s Men Seminar. Shakespeare Association of America. April 2009.

Cockett, Peter. Incongruity, Humour and Early English Comic Figures: Armin’s Natural Fools, the Vice, and Tarlton the Clown. University of Toronto. PhD dissertation, 2001.

Cockett, Peter. Performing Natural Folly: The Jests of Lean Leanard and the Touchstones of Robert Armin and David Tennant. New Theatre Quarterly. 22.2 (May 2006): 141–154. WSB bbt348a.

Cushman, Robert. The Difficulties of Love Times Three. National Post. 11 February 2015.

Cushman, Robert. Play Descends into Skid Row. National Post. 4 November 2006.

Dessen, Alan C., and Leslie Thompson. A Dictionary of Stage Directions in English Drama, 1580–1642. Cambridge: Cambridge University Press, 1999. WSB aaa585.

Dessen, Alan C. Elizabethan Stage Conventions and Modern Interpreters. Cambridge: Cambridge University Press, 1984. WSB am38.

Dessen, Alan C. and Peter Cockett. Inside Out: The Persistence of Allegory in Renaissance Performance. Graduate Centre for Study of Drama and Poculi Ludique Societas. University of Toronto, 5–7 February 2010.

Dessen, Alan C. Recovering Shakespeare’s Theatrical Vocabulary. Cambridge: Cambridge University Press, 1995. WSB ai47. DOI: 10.1017/CBO9780511627460.

Dessen, Alan C. Shakespeare and the Late Moral Plays. Lincoln: University of Nebraska Press, 1986. WSB aj417.

Dessen, Alan C. Stage Directions as Evidence: The Question of Provenance. Shakespeare: Text and Theater: Essays in Honor of Jay L. Halio. Ed. Lois Potter, Arthur F. Kinney, and Barbara Silverstein. Delaware: University of Delaware P–Associated University Press, 1999. 229–247. WSB bbb564.

Eccles, Mark. Shakespeare in Warwickshire. Madison: University of Wisconsin Press, 1961. WSB aav113.

Escolme, Bridget. Talking to the Audience: Shakespeare, Performance, Self. New York: Routledge, 2005. WSB aaq96.

Greenblatt, Stephen. Renaissance Self-Fashioning: From More to Shakespeare. 1980; rpt. Chicago: University of Chicago Press, 2005. WSB ar380.

Howard, Jean E. Crossdressing, The Theatre, and Gender Struggle in Early Modern England. Shakespeare Quarterly 39.4 (Winter 1988): 418–440. WSB bg773.

Kaplan, Jon. Stage Scenes. Now Magazine. 19 January 2006.

King, Pamela. Review of Queen’s Men at McMaster University, 24–29 October, 2006. Early Modern Literary Studies. 13.3 (January 2008): 20.1–20.10.

Lopez, Jeremy. A Partial Theory of Original Practice. Shakespeare Survey 61 (2008): 302–317. WSB bbw622.

McMillin, Scott, and Sally-Beth MacLean. The Queen’s Men and Their Plays. Cambridge: Cambridge University Press, 1998. WSB aw359.

Meagher, John C. Pursuing Shakespeare’s Dramaturgy: Some Contexts, Resources, and Strategies in His Playmaking. London: Associated University Press, 2003. WSB aal216.

Meagher, John C. Shakespeare’s Shakespeare: How the Plays Were Made. New York: Continuum, 1997. WSB av213.

Menzer, Paul. Afterword. Inside Shakespeare: Essays on the Blackfriars Stage. Ed. Paul Menzer. Selinsgrove: Susquehanna University Press, 2006. 223–230. WSB aat277.

Palfrey, Simon, and Tiffany Stern. Shakespeare in Parts. Oxford: Oxford University Press, 2007. WSB aau418.

Preston, Thomas. Cambyses: King of Persia. New York: AMS Press, 1970.

Roberts-Smith, Jennifer. The Red Lion and the White Horse: Inns Used by Patronized Performers in Norwich, 1583–1624. Early Theatre. 10.1 (2007): 109–144.

Shakespeare, William. Hamlet. Ed. Harold Jenkins. Arden Shakespeare. London: Routledge, 1982. WSB ap156.

Stern, Tiffany. Rehearsal from Shakespeare to Sheridan. Oxford: Oxford University Press, 2000. WSB aab871.

Thomson, Peter. Richard Tarlton. Oxford Dictionary of National Biography.

Tucker, Patrick. Secrets of Acting Shakespeare: The Original Approach. London: Routledge, 2001. WSB aah195.

White, Paul Whitfield. Theatre and Reformation: Protestantism, Patronage and Playing in Tudor England. New York: Cambridge University Press, 1993.

Prosopography

Ada Souchu

Ada Souchu is an MA student at Sorbonne Université in Early Modern English literature. After a BA in Classics in 2021, they are currently doing an MA on Latin and Greek sources in Early Modern theatre. They are a junior transcriber on the Douai Shakespeare Manuscript Project.

Andrew Griffin

Andrew Griffin is an associate professor in the department of English and an affiliate professor in the department of Theater and Dance at the University of California, Santa Barbara. He is general editor (text) of Queen’s Men Editions. He studies early modern drama and early modern historiography while serving as the lead editor at the EMC Imprint. He has co-edited with Helen Ostovich and Holger Schott Syme Locating the Queen’s Men (2009) and has co-edited The Making of a Broadside Ballad (2016) with Patricia Fumerton and Carl Stahmer. His monograph, Untimely Deaths in Renaissance Drama: Biography, History, Catastrophe, was published with the University of Toronto Press in 2019. He is editor of the anonymous The Chronicle History of King Leir (Queen’s Men Editions, 2011). He can be contacted at griffin@english.ucsb.edu.

Anonymous

Arlene Ralph

Arleane Ralph (Clyomon and Clamydes, text) completed her dissertation, a modern critical edition of the Queen’s Men play Clyomon and Clamydes, at the University of Toronto in 1996. She works for the Records of Early English Drama as well as running her own business as a copy editor and indexer.

Chantelle Thauvette

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.

Christopher Matusiak

Christopher Matusiak (Friar Bacon and Friar Bungay) is an Associate Professor of English at Ithaca College in New York where he teaches courses on Shakespeare and early modern drama. His research on seventeenth-century theatre management at the Drury Lane Cockpit has appeared in Early Theatre and Medieval and Renaissance Drama in England, and in Shakespeare Quarterly on the use of John Aubrey’s manuscripts in studies of Shakespeare’s life. He is currently writing a book (with Eva Griffith) about Christopher Beeston and the Cockpit playhouse, and researching another on the persistence of illegal stage-playing during the English Civil Wars, Shakespearean Actors and their Playhouses in Civil War London. He also prepared REED London: The Cockpit-Phoenix: an edited collection of seventeenth-century manuscripts and printed documents illustrating the history of the Cockpit-Phoenix playhouse in Drury Lane (for The Records of Early English Drama). He can be contacted at cmatusiak@ithaca.edu.

Dimitry Senyshyn

Dimitry Senyshyn (Clyomon and Clamydes, text) has current research focusing on Shakespeare’s tragicomic romances and their relation to a native tradition of popular romance. He has co-edited an old-spelling edition of The True Tragedie of Richard the Third for QME with Jennifer Robert-Smith. He contributed to the preparation of the REED Inns of Court volume, and he has published in Theatre Research in Canada, Early Theatre, and the Encyclopedia of the Bible and its Reception. He can be contacted at dimitry.senyshyn@gmail.com.

Erin Julian

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

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.

Janelle Jenstad

Janelle Jenstad is a Professor of English at the University of Victoria, Director of The Map of Early Modern London, and Director of Linked Early Modern Drama Online. With Jennifer Roberts-Smith and Mark Beatrice Kaethler, she co-edited Shakespeare’s Language in Digital Media: Old Words, New Tools (Routledge). She has edited John Stow’s A Survey of London (1598 text) for MoEML and is currently editing The Merchant of Venice (with Stephen Wittek) and Heywood’s 2 If You Know Not Me You Know Nobody for DRE. Her articles have appeared in Digital Humanities Quarterly, Elizabethan Theatre, Early Modern Literary Studies, Shakespeare Bulletin, Renaissance and Reformation, and The Journal of Medieval and Early Modern Studies. She contributed chapters to Approaches to Teaching Othello (MLA); Teaching Early Modern Literature from the Archives (MLA); Institutional Culture in Early Modern England (Brill); Shakespeare, Language, and the Stage (Arden); Performing Maternity in Early Modern England (Ashgate); New Directions in the Geohumanities (Routledge); Early Modern Studies and the Digital Turn (Iter); Placing Names: Enriching and Integrating Gazetteers (Indiana); Making Things and Drawing Boundaries (Minnesota); Rethinking Shakespeare Source Study: Audiences, Authors, and Digital Technologies (Routledge); and Civic Performance: Pageantry and Entertainments in Early Modern London (Routledge). For more details, see janellejenstad.com.

Jennifer Parr

Jennifer Parr holds a Masters degree in European and Renaissance Drama from the University of Warwick. She is an independent scholar and professional director and dramaturge based in Toronto. As an undergraduate at the University of Toronto she became involved as an actor with the P.L.S. Medieval and Renaissance Players’ productions of the Medieval Mystery Cycles returning later to direct an all female company in the York Cycle Fall of the Angels for the international full cycle production in 1998. Her recent productions as director and dramaturge include an all female Julius Caesar and an experimental all female adaptation of Richard III: RIchard 3, Queens 4. Her ongoing research into the historical Richard III and the various theatrical interpretations led to her joining the company of TTR3 as an observer and historical resource for the cast. She also writes a monthly column on music theatre and dance for The WholeNote magazine.

Jennifer Roberts-Smith

Jennifer Roberts-Smith is an associate professor of theatre and performance at the University of Waterloo. Her interdisciplinary work in early modern performance editing combines textual scholarship, performance as research, archival theatre history, and design in the development of live and virtual renderings of early modern performance texts, venues, and practices. With Janelle Jenstad and Mark Beatrice Kaethler, she is co-editor of Shakespeare’s Language in Digital Media: Old Words New Tools (2018). Her most recent work has focused on methods for design research that deepen interdisciplinary understanding and take a relational approach. She is currently managing director of the qCollaborative (the critical feminist design research lab housed in the University of Waterloo’s Games Institute, and leads the SSHRC-funded Theatre for Relationality and Design for Peace projects. She is also creative director and virtual reality development cluster lead for the Digital Oral Histories for Reconciliation (DOHR) project. She can be contacted at jennifer.roberts-smith@uwaterloo.ca.

Jessica Dell

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.

Joey Takeda

Joey Takeda is LEMDO’s Consulting Programmer and Designer, a role he assumed in 2020 after three years as the Lead Developer on LEMDO.

Karen Sawyer Marsalek

Karen Sawyer Marsalek (Famous Victories of Henry V, early modern text) is an associate professor of English at St. Olaf College. She has edited, directed and performed in several early English plays. Her publications include essays on true resurrections in medieval drama and The Winter’s Tale, false resurrections in the Chester Antichrist and 1 Henry IV, and theatrical properties of skulls and severed heads. Her current research is on remains and revenants in the King’s Men’s repertory. She can be contacted at marsalek@stolaf.edu.

Kate LeBere

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.

Kirk Melnikoff

Kirk Melnikoff is Professor of English at UNC Charlotte and a past president of the Marlowe Society of America. His research interests range from sixteenth-century British Literature and Culture, to Shakespeare in Performance, to Book History. His essays have appeared in a number of journals and books, and he is the author of Elizabethan Book Trade Publishing and the Makings of Literary Culture (U Toronto P, 2018). He has also edited four essay collections, most recently Christopher Marlowe, Theatrical Commerce, and the Book Trade (Cambridge UP, 2018), and published an edition of Robert Greene’s James IV in 2020. He is currently co-editing a collection of early modern book-trade wills which will be published by Manchester UP, editing Marlowe’s Edward II for the Oxford Marlowe: Collected Works project, and working on a monograph on bookselling in early modern England.

Mahayla Galliford

Project manager, 2025-present; research assistant, 2021-present. Mahayla Galliford (she/her) graduated with a BA (Hons with distinction) from the University of Victoria in 2024. Mahayla’s undergraduate research explored early modern stage directions and civic water pageantry. Mahayla continues her studies through UVic’s English MA program and her SSHRC-funded thesis project focuses on editing and encoding girls’ manuscripts, specifically Lady Rachel Fane’s dramatic entertainments, in collaboration with LEMDO.

Martin Holmes

Martin Holmes has worked as a developer in the UVic’s Humanities Computing and Media Centre for over two decades, and has been involved with dozens of Digital Humanities projects. He has served on the TEI Technical Council and as Managing Editor of the Journal of the TEI. He took over from Joey Takeda as lead developer on LEMDO in 2020. He is a collaborator on the SSHRC Partnership Grant led by Janelle Jenstad.

Mathew Martin

Dr. Mathew R. Martin is Full Professor at Brock University, Canada. He is the author of Between Theatre and Philosophy (2001), Tragedy and Trauma in the Plays of Christopher Marlowe (2015) and Psychoanalysis and Literary Theory (2023), and co-editor, with his colleague James Allard, of Staging Pain, 1500–1800: Violence and Trauma in British Theatre (2009). For Broadview Press he has edited Christopher Marlowe’s Edward the Second (2010), Jew of Malta (2012), Doctor Faustus: The B-Text (2013) and Tamburlaine the Great Part One and Part Two (2014), and Robert Greene’s Selimus (2022). For Revels Editions he has edited George Peele’s David and Bathsheba (2018) and Marlowe’s The Massacre at Paris (2021). For Queen’s Men Editions he has edited The Famous Victories of Henry V (2016). He has published two articles of textual criticism on the printed texts of Marlowe’s plays: Inferior Readings: The Transmigration of Material in Tamburlaine the Great (Early Theatre 17.2 [December 2014]), and (on the political inflections of the shifts in punctuation in the early editions of the play) Accidents Happen: Roger Barnes’s 1612 Edition of Marlowe’s Edward the Second (Early Theatre 16.1 [June 2013]). His latest editing projects are a double-play Revels edition of Robert Greene’s Friar Bacon and Friar Bungay and John of Bordeaux and a Digital Renaissance Editions edition of Dido, Queen of Carthage.

Navarra Houldin

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.

Nicole Vatcher

Technical Documentation Writer, 2020–2022. Nicole Vatcher completed her BA (Hons.) in English at the University of Victoria in 2021. Her primary research focus was women’s writing in the modernist period.

Noam Lior

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

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.

Robert Greene

Robert Wilson

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

Toby Malone

Toby Malone is an Australian/Canadian academic, dramaturg, and librarian. He is a graduate of the University of Toronto (PhD, 2009) and the University of Western Australia (BA Hons, 2001), and the University of Western Ontario (MLIS, 2023). He has worked as a theatre artist across the world, with companies including the Stratford Festival, Canadian Stage, Soulpepper, Driftwood Theatre Group, the Shaw Festival, Poorboy Theatre Scotland, Pittsburgh Public Theatre, Arizona Theatre Company, CBC, BT/A, and Kill Shakespeare Entertainment. He has published in Shakespeare Survey, Literature/Film Quarterly, Canadian Theatre Review, Borrowers and Lenders, Oxford Research Encyclopedia of Literature, appears in published collections with Routledge, Cambridge, and Oxford. Publications include two monographs: dapting War Horse (Palgrave McMillan) and Cutting Plays for Performance: A Practical and Accessible Guide (Routledge), and is currently co-writing an updated version of Shakespeare in Performance: Romeo and Juliet with Jill L. Levenson for Manchester UP. Toby has previously taught at the University of Waterloo and the State University of New York at Oswego, is currently Research Impact Librarian at Toronto Metropolitan University.

Tracey El Hajj

Junior Programmer 2019–2020. Research Associate 2020–2021. Tracey received her PhD from the Department of English at the University of Victoria in the field of Science and Technology Studies. Her research focuses on the algorhythmics of networked communications. She was a 2019–2020 President’s Fellow in Research-Enriched Teaching at UVic, where she taught an advanced course on Artificial Intelligence and Everyday Life. Tracey was also a member of the Map of Early Modern London team, between 2018 and 2021. Between 2020 and 2021, she was a fellow in residence at the Praxis Studio for Comparative Media Studies, where she investigated the relationships between artificial intelligence, creativity, health, and justice. As of July 2021, Tracey has moved into the alt-ac world for a term position, while also teaching in the English Department at the University of Victoria.

Bibliography