About the Production Records Production Records Compiler Peter Cockett Conversion and Remediation LEMDO Team Queen’s Men EditionsQME

The Queen’s Men Editions anthology is led by Helen Ostovich, General Editor; Peter Cockett, General Editor (Performance); Andrew Griffin, General Editor (Text; until 2026); and Janelle Jenstad, General Editor (Text; 2026–)

 Social Sciences and Humanities Research Council of Canada McMaster University Poculi Ludique Societas University of Waterloo University of Toronto Centre for Drama, Theatre & Performance Studies University of Victoria Friends of the ISE

Released with Queen’s Men Editions 2.0

 University of Victoria on the Linked Early Modern Drama Online Platform

This file is licensed under a CC BY-NC_ND 4.0 license, which means that it is freely downloadable without permission under the following conditions: (1) credit must be given to the author, Queen’s Men Editions, and LEMDO in any subsequent use of the files and/or data; (2) the content cannot be adapted or repurposed (except in quotations for the purposes of academic review and citation); and (3) commercial uses are not permitted without the knowledge and consent of Queen’s Men Editions, the editor, and LEMDO. This license allows for pedagogical use of the critical paratexts in the classroom. Neither the content nor the code in this file is licensed for training large language models (LLMs), ingestion into an LLM, or any use in any artificial intelligence applications; such uses are considered to be commercial uses and are strictly prohibited.

Production photographs and videos on this site may not be downloaded. They appear freely on this site with the permission of the actors and the ACTRA union. They may be used within the context of university courses, within the classroom, and for reference within research contexts, including conferences, when credit is given to the producing company and to the actors. Commercial use of videos and photographs is forbidden.

Queen’s Men Editions

Page compiled by Peter Cockett. First published in the QME 1.0 anthology on the ISE platform. Converted to TEI-XML and remediated by the LEMDO Team for republication in the QME 2.0 anthology on the LEMDO platform.

Encoded in TEI P5 according to the LEMDO Customization and Encoding Guidelines

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 Published file. Final check. Added a space. Tagged names. Add a link to 3LL conference. Proofed metadata in HTML. Numbered paragraphs. Changed hi elements to title. Proofed page. Added editorialDecl element. Ran spellcheck and caught one typo. Changed status. Updated metadata Removed front element from born-digital documents that should not have one. Added metadata, licensed document for QME Converted document. Peer review arranged by QME Editorial Board Page added to the ISE XWiki. File pre-history unknown.
Performances

Through 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.

The 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

The 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

The 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 Queen’s 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

As 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: <title level="m">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.