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.

Brett Greatley-Hirsch is University Academic Fellow in Textual Studies and Digital Editing at the University of Leeds. He is a coordinating editor of Digital Renaissance Editions, co-editor of the Routledge journal Shakespeare, and a Trustee of the British Shakespeare Association. He is the author (with Hugh Craig) of Style, Computers, and Early Modern Drama: Beyond Authorship (Cambridge, 2017), which brings together his interests in early modern drama, computational stylistics, and literary history. His current projects include editions of John Day’s works (with Helen Ostovich and James Loxley), Hyde Park for the Oxford Shirley (with Mark Houlahan), and Fair Em for DRE (with Kevin Quarmby), a history of Renaissance drama since the eighteenth century, and computational studies of authorship and genre. For more details, see notwithoutmustard.net.

Heidi Craig is Assistant Professor CLTA of English at the University of Toronto. She previously was an Assistant Professor of English at Texas A&M University. She is the editor of Early Modern Dramatic Paratexts. She is the author of Theatre Closure and the Paradoxical Rise of English Renaissance Drama in the Civil Wars (Cambridge University Press, 2023), as well as many articles and chapters on early modern drama, textual culture, bibliography, and digital humanities.

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 Queenʼs 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.

James Mardock is Associate Professor of English at the University of Nevada, Associate General Editor for the Internet Shakespeare Editions, and a dramaturge for the Lake Tahoe Shakespeare Festival and Reno Little Theater. In addition to editing quarto and folio Henry V for the ISE, he has published essays on Shakespeare, Ben Jonson, and other Renaissance literature in The Seventeenth Century, Ben Jonson Journal, Borrowers and Lenders, and contributed to the collections Representing the Plague in Early Modern England (Routledge 2010) and Shakespeare Beyond Doubt (Cambridge 2013). His book Our Scene is London (Routledge 2008) examines Jonsonʼs representation of urban space as an element in his strategy of self-definition. With Kathryn McPherson, he edited Stages of Engagement (Duquesne 2013), a collection of essays on drama in post-Reformation England, and he is currently at work on a monograph on Calvinism and metatheatrical awareness in early modern English drama.

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 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.

Kathryn M. Moncrief is Paris Fletcher Distinguished Professor of Humanities and Head of Humanities and Arts at Worcester Polytechnic Institute (WPI) in Worcester, MA. She was previously Professor and Chair of English at Washington College, in Chestertown, MD where she taught courses in Shakespeare, Milton, and early modern literature and culture and received the Washington College Alumni Association Award for Distinguished Teaching. She serves as co-editor of the Shakespeare Life and Times section of the Internet Shakespeare Editions and has published widely on Shakespeare and performance. She is co-editor of Shakespeare Expressed: Page, Stage and Classroom in Early Modern Drama (with Kathryn McPherson and Sarah Enloe); Performing Pedagogy in Early Modern England: Gender, Instruction and Performance; and Performing Maternity in Early Modern England (both with Kathryn McPherson). She is the author of articles published in book collections and journals, including Literary Cultures and the Child, Shaping Shakespeare for Performance, Metaliterary in Practice, Gender and Early Modern Constructions of Childhood, and Renaissance Quarterly.

Kate McPherson is Professor of English and Honors Program Director at Utah Valley University (Orem, UT, USA). With Dr. Kathryn M. Moncrief (Worcester Polytechnic Institute), she is co-editor of The Early Modern England Encyclopedia (EMEE), a full revision of Shakespeare’s Life and Times for the Internet Shakespeare Editions, forthcoming in 2025. She has published widely on the English early modern period, including commentary on Pericles and The Comedy of Errors (Oxford University Press, 2016) and co-edited four collections of scholarly essays including Stages of Engagement: Drama and Religion in Post-Reformation England (with James Mardock, Duquesne University Press, 2014); Shakespeare Expressed: Page, Stage, and Classroom in Shakespeare and His Contemporaries (with Kathryn M. Moncrief and Sarah Enloe, Fairleigh Dickinson University Press, 2013); Performing Pedagogy in Early Modern England: Gender, Instruction, and Performance (with Kathryn M. Moncrief, Ashgate, 2011); and Performing Maternity in Early Modern England (with Kathryn M. Moncrief, Ashgate, 2008). She has also published articles on regional theater, digital humanities, and early modern maternity in scholarly journals.

McPherson participated in the National Endowment for the Humanities Institute, Shakespeare’s Blackfriars: The Study, the Stage, the Classroom, at the American Shakespeare Center in 2008. She also served as Play Seminar Director, a public humanities position, for the Utah Shakespeare Festival in 2017 and 2018.

Lauren Liebe is a postdoctoral researcher at Texas A&M’s Center of Digital Humanities Research. She serves as the project manager for the Advanced Research Consortium, which promotes research in the humanities through online communities built around peer-review, aggregation, and discovery of period-specific data and digital resources. A specialist in early modern and Restoration English drama, Liebe is also the project developer and general editor of Digital Restoration Drama, an open-access database of seventeenth-century play texts.

Line Cottegnies teaches early-modern literature at Sorbonne Université. She is the author of a monograph on the politics of wonder in Caroline poetry, LʼÉclipse du regard: la poésie anglais du baroque au classicisme (Droz, 1997), and has co-edited several collections of essays, including Authorial Conquests: Essays on Genre in the Writings of Margaret Cavendish (AUP, 2003, with Nancy Weitz), Women and Curiosity in the Early Modern Period (Brill, 2016), with Sandring Parageau, or Henry V: A Critical Guide (Bloomsbury, 2018), with Karen Britland. She has published on seventeenth-century literature, from Shakespeare and Raleigh to Ahpra Behn and Mary Astell. Her research interests are: early-modern drama and poetry, the politics of translation (between France and England), and women authors of the period. She has also developed a particular interest in editing: she had edited half of Shakespeareʼs plays for the Gallimard bilingual complete works (alone and in collaboration), and, also, Henry IV, Part 2, for The Norton Shakespeare 3 (2016). With Marie-Alice Belle, she has co-edited two Elizabethan translations of Robert Garnier (by Mary Sidney Herbert and Thomas Kyd), published in 2017 in the MHRA Tudor and Stuart Translation Series as Robert Garnier in Elizabethan England. She is currently working on an edition of three Behnʼs translations from the French for the Cambridge edition of Behn’s Complete Works

Research assistant, remediator, encoder, 2021–present. Mahayla Galliford is a fourth-year student in the English Honours and Humanities Scholars programs at the University of Victoria. She researches early modern drama and her Jamie Cassels Undergraduate Research Award project focused on approaches to encoding early modern stage directions.

Project manager 2022–present. Textual remediator 2021–present. Navarra Houldin (they/them) completed their BA in History and Spanish at the University of Victoria in 2022. During their degree, they worked as a teaching assistant with the University of Victoriaʼs Department of Hispanic and Italian Studies. Their primary research was on gender and sexuality in early modern Europe and Latin America.

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.

Sarah Neville is an assistant professor in the department of English at the Ohio State University who also holds a courtesy appointment in Theatre. Her published scholarly research explores how authority is constructed by authors and audiences in a variety of genres and technologies, including Renaissance science and medicine, contemporary textual and digital scholarship, and modern performance. She is currently finishing a monograph about printed books of botany in the early Renaissance book trade. Neville was an assistant editor of the New Oxford Shakespeare (2016–2017), for which she edited five plays, and is a coordinating editor of the Digital Renaissance Editions, an open-access project publishing online scholarly editions of non-Shakespearean early English drama. Neville’s textual and editorial scholarship is bolstered by her practice-as-research. She is the founder and creative director of Lord Denney’s Players, an academic theatre company housed within the OSU English Department that is designed to explore intersections of texts, criticism, and performance. At OSU she regularly teaches classes in Shakespeare, Renaissance poetry, research methods, and textual studies.

Sonia Massai is Professor of Shakespeare Studies at Kingʼs College London, UK. Her publications include her books on Shakespeare’s Accents: Voicing Identity in Performance (Cambridge University Press, 2020) and Shakespeare and the Rise of the Editor (Cambridge University Press, 2007), collections of essays on Ivo van Hove (Bloomsbury, 2018), Shakespeare and Textual Studies (Cambridge University Press, 2015) and World-Wide Shakespeares (Routledge, 2005), and critical editions of The Paratexts in English Printed Drama to 1642 (Cambridge University Press, 2014) and John Fordʼs ’Tis Pity Sheʼs a Whore for Arden Early Modern Drama (Bloomsbury, 2011). She is co-editor of a new collection of essays on Hamlet for the Arden Shakespeare State of Play series, and she is Principal Investigator (PI) on Wartime Shakespeare, a Leverhulme-funded research project, whose outcomes will include an exhibition at the National Army Museum in London in 2023–2024 and accompanying exhibition book. She is currently preparing a new Shakespeare Arden edition of Richard III, and she has recently been appointed as General Editor of the New Cambridge Shakespeare (CSE) series.