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            <note>
               <p>Peter Cockett is an associate professor in the iArts (Integrated Arts) program at McMaster University. He is the co-editor, with Melinda Gough, of <title level="m">Engendering the Stage in the Age of Shakespeare and Beyond</title> (University of Toronto Press, 2025) which publishes the findings of their 2018 Performance as Research (PaR) workshop at the Stratford Festival Lab. He is the general editor (performance), and technical co-ordinating editor of <title level="m">Queen’s Men Editions</title>. His PaR directing credits include <title level="m">King Leir</title>, <title level="m">The Famous Victories of Henry V</title>, and <title level="m">Friar Bacon and Friar Bungay</title> (2006), <title level="m">Clyomon and Clamydes</title> (2010), and <title level="m">Three Ladies of London</title> (2015) for the Shakespeare and the Queen’s Men project (SQM). The process behind the 2006 productions is documented in depth on the project website <ref target="https://thequeensmen.ca/"><title level="m">Performing the Queen’s Men</title></ref>. For the PLS, the University of Toronto’s Medieval and Renaissance Players, he has directed the Digby <title level="m">Mary Magdalene</title> (2003) and the double bill of George Peele’s <title level="m">The Old Wives Tale</title> and the Chester <title level="m">Antichrist</title> (2004). He also directed <title level="m">An Experiment in Elizabethan Comedy</title> (2005) for the SQM project and <title level="m">Inside Out: The Persistence of Allegory</title> (2008) in collaboration with Alan Dessen. Peter is a professional actor and director with numerous stage and screen credits. He can be contacted at <ref target="mailto:cockett@mcmaster.ca">cockett@mcmaster.ca</ref>.</p>
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               <p>Julian DeZotti was an actor with Shakespeare and the Queen’s Men Project. He played <soCalled>Margaret</soCalled> in <title level="m">Friar Bacon and Friar Bungay</title> (2006) and <soCalled>Lawrence Costermonger</soCalled>, <soCalled>Clerk</soCalled>, <soCalled>First French Soldier</soCalled>, and <soCalled>Katherine of France</soCalled> in <title level="m">Famous Victories</title> (2006).</p>
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               <p>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 <term>algorhythmics</term> of networked communications. She was a 2019–2020 President’s Fellow in Research-Enriched Teaching at UVic, where she taught an advanced course on <title level="a">Artificial Intelligence and Everyday Life.</title> Tracey was also a member of the <title level="m">Map of Early Modern London</title> 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.</p>
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               <p>Project Manager, 2025-present; Assistant Project Manager, 2024-2025; Research Assistant, 2021-present. Mahayla Galliford (she/her) graduated from the University of Victoria with a BA (honours with distinction) in 2024, and an MA English in 2026. Mahayla’s undergraduate research explored early modern stage directions and civic water pageantry. Her SSHRC-funded MA thesis project focuses on transcribing, editing, and encoding early modern girls’ manuscripts, specifically Lady Rachel Fane’s <title level="m">May Masque</title> in collaboration with LEMDO.</p>
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               <p>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 <ref target="http://emcimprint.english.ucsb.edu">EMC Imprint</ref>. He has co-edited with Helen Ostovich and Holger Schott Syme <title level="m">Locating the Queen’s Men</title> (2009) and has co-edited <title level="m">The Making of a Broadside Ballad</title> (2016) with Patricia Fumerton and Carl Stahmer. His monograph, <ref target="https://www.cambridge.org/core/journals/renaissance-quarterly/article/untimely-deaths-in-renaissance-drama-biography-history-catastrophe-andrew-griffin-toronto-university-of-toronto-press-2019-x-198-pp-45/D1154E832B251D4BEC76BD5504351063"><title level="m">Untimely Deaths in Renaissance Drama: Biography, History, Catastrophe</title></ref>, was published with the University of Toronto Press in 2019. He is editor of the anonymous <title level="m">The Chronicle History of King Leir</title> (Queen’s Men Editions, 2011). He can be contacted at <ref target="mailto:griffin@english.ucsb.edu">griffin@english.ucsb.edu</ref>.</p>
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               <p>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.</p>
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               <p>Paul Hopkins was an actor with Shakespeare and the Queen’s Men Project. He played <soCalled>Prince Edward</soCalled> and <soCalled>Other Clowns</soCalled> in <title level="m">Friar Bacon and Friar Bungay</title> (2006) and <soCalled>Prince Henry</soCalled> in <title level="m">Famous Victories</title> (2006).</p>
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               <p>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.</p>
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               <p>Janelle Jenstad is a Professor of English at the University of Victoria, Director of <ref target="https://mapoflondon.uvic.ca">The Map of Early Modern London</ref>, and Director of <ref target="https://lemdo.uvic.ca">Linked Early Modern Drama Online</ref>. With Jennifer Roberts-Smith and Mark Beatrice Kaethler, she co-edited <title level="m">Shakespeare’s Language in Digital Media: Old Words, New Tools</title> (Routledge). She has edited John Stow’s <title level="m">A Survey of London</title> (1598 text) for MoEML and is currently editing <title level="m">The Merchant of Venice</title> (with Stephen Wittek) and Heywood’s <title level="m">2 If You Know Not Me You Know Nobody</title> for DRE. Her articles have appeared in <title level="j">Digital Humanities Quarterly</title>, <title level="j">Elizabethan Theatre</title>, <title level="j">Early Modern Literary Studies</title>, <title level="j">Shakespeare Bulletin</title>, <title level="j">Renaissance and Reformation</title>, and <title level="j">The Journal of Medieval and Early Modern Studies</title>. She contributed chapters to <title level="m">Approaches to Teaching Othello</title> (MLA); <title level="m">Teaching Early Modern Literature from the Archives</title> (MLA); <title level="m">Institutional Culture in Early Modern England</title> (Brill); <title level="m">Shakespeare, Language, and the Stage</title> (Arden); <title level="m">Performing Maternity in Early Modern England</title> (Ashgate); <title level="m">New Directions in the Geohumanities</title> (Routledge); <title level="m">Early Modern Studies and the Digital Turn</title> (Iter); <title level="m">Placing Names: Enriching and Integrating Gazetteers</title> (Indiana); <title level="m">Making Things and Drawing Boundaries</title> (Minnesota); <title level="m">Rethinking Shakespeare Source Study: Audiences, Authors, and Digital Technologies</title> (Routledge); and <title level="m">Civic Performance: Pageantry and Entertainments in Early Modern London</title> (Routledge). For more details, see <ref target="https://janellejenstad.com/">janellejenstad.com</ref>.</p>
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               <reg>Kate LeBere</reg>
               <forename>Kate</forename>
               <surname>LeBere</surname>
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               <p>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 <title level="j">The Corvette</title> (2018), <title level="j">The Albatross</title> (2019), and <title level="j">PLVS VLTRA</title> (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.</p>
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               <p>Christopher Matusiak (<title level="m">Friar Bacon and Friar Bungay</title>) 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 <title level="m">Early Theatre</title> and <title level="m">Medieval and Renaissance Drama in England</title>, and in <title level="m">Shakespeare Quarterly</title> 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, <title level="m">Shakespearean Actors and their Playhouses in Civil War London</title>. He also prepared <title level="m">REED London: The Cockpit-Phoenix</title>: an edited collection of seventeenth-century manuscripts and printed documents illustrating the history of the Cockpit-Phoenix playhouse in Drury Lane (for <title level="m">The Records of Early English Drama</title>). He can be contacted at <ref target="mailto:cmatusiak@ithaca.edu">cmatusiak@ithaca.edu</ref>.</p>
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               <p>Helen Ostovich, professor emerita of English at McMaster University, is the founder and general editor of <title level="m">Queen’s Men Editions</title>. 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 <title level="m">Four Comedies: Ben Jonson</title> (1997); <title level="m">Every Man Out of his Humour</title> (Revels 2001); and <title level="m">The Magnetic Lady</title> (Cambridge 2012). She has also edited the Norton Shakespeare 3 <title level="m">The Merry Wives of Windsor</title> Q1602 and F1623 (2015); <title level="m">The Late Lancashire Witches</title> and <title level="m">A Jovial Crew</title> for <ref target="https://www.dhi.ac.uk/brome/intro.jsp"><title level="m">Richard Brome Online</title></ref>, revised for a 4-volume set from OUP 2021; <title level="m">The Ball</title>, for the Oxford Complete Works of James Shirley (2021); <title level="m">The Merry Wives of Windsor</title> for Internet Shakespeare Editions, and <title level="m">The Dutch Courtesan</title> (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 <title level="m">Magical Transformations of the Early Modern English Stage</title> with Lisa Hopkins (2014), and the equivalent to book website, <title level="m">Performance as Research in Early English Theatre Studies:</title> The Three Ladies of London <title level="m">in Context</title> containing scripts, glossary, almost fifty conference papers edited and updated to essays; video; link to <title level="m">Queen’s Mens Ediitons</title> and YouTube: <ref target="http://threeladiesoflondon.mcmaster.ca/contexts/index.htm">http://threeladiesoflondon.mcmaster.ca/contexts/index.htm</ref>, 2015. Recently, she was guest editor of Strangers and Aliens in London ca 1605, Special Issue on Marston, <title level="m">Early Theatre</title> 23.1 (June 2020). She can be contacted at <ref target="mailto:ostovich@mcmaster.ca">ostovich@mcmaster.ca</ref>.</p>
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            </persName>
            <note>
               <p>Holger Schott Syme is an associate professor of English and Drama at the University of Toronto Mississauga. He is author of <title level="m">Theatre and Testimony in Shakespeare’s England: A Culture of Mediation</title> (CUP, 2011) and co-editor with Helen Ostovich and Andrew Griffin of <title level="m">Locating the Queen’s Men, 1583–1603</title> (Ashgate, 2009). His recent work includes <title level="a">(Mis)representing Justice on the Early Modern Stage</title>, <title level="m">Studies in Philology</title> (2011); <title level="a">The Meaning of Success: Stories of 1594 and its Aftermath</title>, <title level="m">Shakespeare Quarterly</title> (2010); and <title level="a">Unediting the Margin: Jonson, Marston, and the Theatrical Page</title>, <title level="m">English Literary Renaissance</title>38.1 (2008): 142–171. As textual editor, he has produced <title level="m">Edward III</title> (Shakespeare and others) and <title level="m">The Book of Sir Thomas More</title>, by Munday, Chettle, Dekker, Heywood, Shakespeare and others, for <title level="m">The Norton Shakespeare 3,</title> ed. Stephen Greenblatt et al. (W.W. Norton, 2015). He can be contacted at <ref target="mailto:holger.syme@utoronto.ca">holger.syme@utoronto.ca</ref>.</p>
            </note>
         </person>
         <person xml:id="TAKE1" copyOf="PERS1.xml#TAKE1">
            <persName>
               <reg>Joey Takeda</reg>
               <forename>Joey</forename>
               <surname>Takeda</surname>
            </persName>
            <note>
               <p>Joey Takeda is LEMDO’s Consulting Programmer and Designer, a role he assumed in 2020 after three years as the Lead Developer on LEMDO.</p>
            </note>
         </person>
         <person xml:id="GREE1" copyOf="PROS1.xml#GREE1">
            <persName>
               <reg>Robert Greene</reg>
               <forename>Robert</forename>
               <surname>Greene</surname>
            </persName>
         </person>
      </listPerson>
      <listOrg>
         <org xml:id="LEMD1" copyOf="ORGS1.xml#LEMD1">
            <orgName>
               <reg>LEMDO Team</reg>
            </orgName>
            <note>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.</note>
         </org>
         <org xml:id="UVIC1" copyOf="ORGS1.xml#UVIC1">
            <orgName>
               <reg>University of Victoria</reg>
            </orgName>
            <idno type="URI">https://www.uvic.ca/</idno>
         </org>
         <org xml:id="SQMP1" copyOf="ORGS1.xml#SQMP1">
            <orgName>
               <reg>Shakespeare and the Queen’s Men Project</reg>
            </orgName>
            <idno type="URI">https://thequeensmen.ca/</idno>
         </org>
         <org xml:id="QMEB1" n="qmeEditorialBoard" copyOf="ORGS1.xml#QMEB1">
            <orgName>
               <reg>QME Editorial Board</reg>
            </orgName>
            <note>
               <p>The QME Editorial Board consists of <persName ref="#OSTO1">Helen Ostovich</persName>, General Editor; <persName ref="#COCK1">Peter Cockett</persName>, General Editor (Performance); <persName ref="#GRIF1">Andrew Griffin</persName>, General Editor (Text); and <persName ref="#JENS1">Janelle Jenstad</persName>  General Editor (Text).</p>
            </note>
         </org>
         <org xml:id="QME1" copyOf="ORGS1.xml#QME1">
            <orgName>
               <reg>Queen’s Men Editions</reg>
               <abbr>QME</abbr>
            </orgName>
            <note>
               <p>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–)</p>
            </note>
         </org>
      </listOrg>
   </standOff>
   <facsimile>
      <surface xml:id="emdFBFB_video_scene01_sfc"
               corresp="#emdFBFB_PerfNotes_full_scene1">
         <media url="https://lemdo.uvic.ca/videos/FBFB/fbfb_01.mp4"
                mimeType="video/mp4"/>
         <note>
            <p xml:id="emdFBFB_video_scene01_p1">The first scene of the show launched the audience into the ribald, rambunctious and definitively masculine world of the production as a whole. Under the leadership of master actor <persName ref="#HOPK2">Paul Hopkins</persName> (Prince Edward), the company animated this scene with the locker-room atmosphere that came to characterize the <ref target="qme_SQMPerfInt.xml#qme_SQMPerfInt_AllMaleCompany">rehearsal process of the all-male cast</ref>. They found a lot of opportunities for physical clown comedy that helped clarify the sexual double meanings behind much of the poetry. They gave free reign to the expression of their characters’ sexual desires. The result of their performance choices was that life in the English countryside was highly eroticized. Even the churning of milk becomes an erotic act. Although we did not decide this intention in advance, the effect accords well with the <ref target="qme_SQMPerfInt.xml#qme_SQMPerfInt_p38">assumed objective of the Queen’s Men</ref> because it makes England seem so desirable. Given the repeated references to sexual violence in the scene, however, it is not an England that is desirable today; indeed looking back at it now the scene’s <ref target="emdFBFB_PerfIntro.xml#emdFBFB_PerfIntro_p15">objectification of women makes me quite uncomfortable</ref>. In a full modern production of the play that was not interested in original practices, I might find ways to make the <quote>wags</quote> (<ptr type="localCit" target="emdFBFB_M.xml#emdFBFB_M_anc_2040"/>) seem more distasteful in their desires and in their attitudes towards women at this early stage. The play later challenges their attitude towards women through Lacy’s resistance to the prince, although Lacy himself then later plays fast and loose with Margaret’s emotions. In our production, <persName ref="#DEZO1">Julian DeZotti</persName>’s performance of Margaret also offered resistance to the objectifying attitudes of the <quote>wags</quote>.</p>
         </note>
      </surface>
   </facsimile>
   <text>
      <body>
         <list rend="simple">
            <head>Navigation</head>
            <item>See <ref target="emdFBFB_ProductionCredits.xml">Production Credits</ref>.</item>
            <item>Go back to <ref target="emdFBFB_video.xml">scene index for the SQM production of <title level="m">Friar Bacon and Friar Bungay</title></ref>.</item>
         </list>
      </body>
   </text>
</TEI>
