About the Production Records


Para1Through this menu you can access the video records of the modern productions directly, which presents an opportunity to experience the performances without prior knowledge of the printed text. The performances featured on the site are all research productions with their own objectives and agenda. They form part of a movement we now refer to as Performance as Research (PaR). Many of the directors are interested in how the plays might have been originally staged, but the productions should not be viewed as reconstructions of original performances. The performances are inescapably modern but provide a lively medium through which to re-imagine the plays of the Queen’s Men: what they might have meant in their time and how they make meanings in our time.
Para2The video records of the PaR productions are integrated into the performance editions of the plays but can also be accessed directly through this menu. Information on the research objectives of each production are provided in introductory essays.

Overview of the PaR Productions

Para3The list follows the chronological order of the modern productions, not the order of publication on this site. (Only the first three titles below have been published to date; they are linked to the production records for that play.)

Plays Performed for SQM Project

The History of King Leir (2006): edition landing page; production records
Famous Victories of Henry V (2006): edition landing page; production records
Friar Bacon and Friar Bungay (2006): edition landing page; production records
Para4The first three plays were performed in repertoire as the climax of the Shakespeare and the Queen’s Men (SQM) project. The plays were directed by Peter Cockett (McMaster University) who is also the performance editor for the editions. The productions were created through an experimental process designed to research the work and practices of the original Queenʼs Men company. The modern company of actors assembled for the SQM project adopted the theatrical techniques and technologies of the early modern theatre, and the production notes in the editions examine what was learnt about the differences between a modern professional understanding of drama and the dramaturgy implied by the Queen’s Men plays. These performance editions build on the work presented in the teaching and interactive research site: Performing the Queen’s Men .

Further Productions

Para5As QME grows towards completion, records of the following PaR productions will be added to the site along with our editions of the plays.
True Tragedy of Richard III (2008), directed by Jennifer Roberts-Smith (University of Waterloo).
Troublesome Reign of King John (2009), directed by Oliver Jones (York University).
Sir Clyomon and Sir Clamydes (2010), directed by Peter Cockett. The production furthered the SQM exploration of the impact on theatrical rehearsal and performance practices on the style of performance of the plays.
Three Lords and Three Ladies of London (2015), directed by Richard Sullivan Lee in a research project designed by Paul W. White (Purdue).
Three Ladies of London (2015), directed by Peter Cockett and presented at the as part of the conference Performance as Research in Early English Theatre Studies: Three Ladies of London in Context
The QME team members hope the final two plays, Selimus and Old Wives’ Tale, will be staged in a future PaR conference.


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 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 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 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.

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.

Martin Holmes

Martin Holmes has worked as a developer in the UVicʼs 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.

Navarra Houldin

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.

Oliver Jones

Oliver Jones (Troublesome Reign of King John. performance) is Lecturer in Theatre at the Department of Theatre, Film and Television, University of York. His doctoral thesis combined theatre history, archaeological survey, and performance-as-research methodologies to investigate the Queen’s Men and the guildhall of Stratford-upon-Avon, and created a site-specific performance and video of The Troublesome Reign of King John.As Postdoctoral Research Fellow at Shakespeare’s Globe, now a member of the Globe’s Architectural Research Group, he undertook preparations for the Sam Wanamaker Playhouse.With Michael Cordner he has produced stagings of John Marston’s The Dutch Courtesan(www.dutchcourtesan.co.uk) and associate-directed James Shirley’s Hyde Park.Recent publications appear in Shakespeare Bulletinand Andrew Gurr and Farah Karim-Cooper(eds), Moving Shakespeare Indoors (CUP, 2014). He can be contacted at oliver.jones@york.ac.uk.

Paul Whitfield White

Paul Whitfield White specializes in Shakespeare, medieval drama, and early modern drama and literature. His publications include recent articles on the Chester Cycle, Elizabethan Arthurian drama, and Robert Wilson’s plays, as well as the books Drama and Religion in English Provincial Society, 1485-1660; Theatre and Reformation: Protestantism, Patronage, and Playing in Tudor England; Marlowe, History, and Sexuality: New Critical Essays on Christopher Marlowe(edited collection); and Shakespeare and Theatrical Patronage in Early Modern England, collected and co-edited with Suzanne R. Westfall. He can be contacted at pwhite@purdue.edu.

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.



The LEMDO Team is based at the University of Victoria and normally comprises the project director, the lead developer, project manager, junior developers(s), remediators, encoders, and remediating editors.

QME Editorial Board (QMEB1)

The QME Editorial Board consists of Helen Ostovich, General Editor; Peter Cockett, General Editor (Performance); and Andrew Griffin, General Editor (Text), with the support of an Advisory Board.