Helen Ostovich <firstname.lastname@example.org> is professor emeritus of English and Cultural Studies, McMaster University. She is the the founder of Queen's Men Editions [QME], the ultimate destination of essays and production information, including the film of The Three Ladies of London and Henry VI Part 1, and the editions of the plays (in progress): go to <http://qme.internetshakespeare.uvic.ca/>. She is also a general editor of The Revels Plays (Manchester University Press); Series Editor of Studies in Performance and Early Modern Drama (Ashgate Publishing), play-editor of several works by Ben Jonson, in Four Comedies: Ben Jonson (Longman, 1997); Every Man Out of his Humour (Revels Plays); 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 <http://www.hrionline.ac.uk/brome/>, with paper editions for OUP forthcoming 2018); The Ball, for the Oxford Complete Works of James Shirley (forthcoming 2015-2018); and will be editing The Merry Wives of Windsor for Internet Shakespeare Editions <http://internetshakespeare.uvic.ca/>, and The Dutch Courtesan for the Complete Works of John Marston, Oxford University Press, forthcoming 2020. She has published many articles and book chapters on Jonson, Shakespeare, and others, and several book collections, most recently co-editing Magical Transformations of the Early Modern English Stage with Lisa Hopkins (Ashgate 2014).
Melinda Gough <email@example.com> is Associate Professor of English and Cultural Studies at McMaster University. Her research focuses on late sixteenth- and early seventeenth-century English and continental literature, with particular attention to early modern women as producers and consumers of courtly and popular culture. She has published essays on sixteenth-century Italian and English epic (Tasso and Spenser) and popular English drama (Shakespeare and Jonson); the early seventeenth-century Swetnam controversy in England; French queens and political culture; and the performances of Queen Henrietta Maria and her mother, Marie de Medici. Her work has appeared in journals such as Renaissance Quarterly, SEL, Studies in Philology, The Huntington Library Quarterly,and The Court Historian. Her essay "Marie de Medici’s 1605 Ballet de la Reine and the Virtuosic Voice" won the Best Article Prize for an essay published in Early Modern Women: An Interdisciplinary Journal Volume 7 (2012). Another essay, entitled "Marie de Medici’s 1605 Ballet de la Reine: New Evidence and Analysis" (Early Theatre 15.1) was awarded the Medieval and Renaissance Drama Society’s 2013 Barbara D. Palmer Award for Best New Essay in Early Drama Archives Research. She also received the Society for the Study of Early Modern Women’s Award for Best Article Published in 2003 for her essay "'Not as myself': the Queen’s Voice in Tempe Restored," which appeared in Modern Philology 101.1. She is currently writing a book-length study centered on the performance history and legacy of Marie de Medici (1573-1642), wife of Henri IV; and is also editing the anonymous play Swetnam the Woman-Hater Arraigned by Women (1620) for The Revels Plays, Manchester University Press. She is co-editor, with Helen Ostovich, of the journal Early Theatre.
Erin Julian <firstname.lastname@example.org> defended her doctoral dissertation, 'Laughing Matters: Sexual Violence in Jacobean and Caroline Comedy', in September 2014. She is currently working on revising this project with a view to monograph publication, as well as preparing an article ‘“What was done to Elbow’s Wife”: Rape Spectacles and Comedic Closure in Measure for Measure’. She has been an editorial assistant and acting Assistant Editor on the journal Early Theatre, and with Helen Ostovich has co-edited (and co-written two chapters) for The Alchemist: A Critical Reader (9 chapters) for Arden Renaissance Drama (London: Bloomsbury, 2013). She has also recently published a review essay, ‘New Directions in Jonson Criticism’ in Early Theatre 17.1 (2014), 179-95.
Chantelle Thauvette <email@example.com> defended her doctoral dissertation, 'Female Impersonation and Patriarchal Resilience in Stuart England', at McMaster University in 2013, and was one of the first post-graduates to receive simultaneously her Doctoral Diploma, Gender Studies and Feminist Research. She teaches at Siena College, in Albany NY. Her publications include 'Sexual Education and Erotica in the Popular Midwifery Manuals of Thomas Raynalde and Nicholas Culpeper', Magic, Marriage, and Midwifery: Eroticism in the Middle Ages and the Renaissance (Turnhout: Brepols, 2014) Arizona Studies in the Middle Ages and the Renaissance; 'Masculinity and Turkish Captivity in Swetnam the Woman-Hater', SEL 52.2 (Spring 2012): 425-45; 'Defining Early Modern Pornography: The Case of Venus and Adonis', The Journal for Early Modern Cultural Studies. 12.1 (Winter 2012): 25-48; and 'Sex, Astrology, and the Almanacs of Sarah Jinner', Early Modern Women: An Interdisciplinary Journal 5 (2010): 243-50.
Jessica Dell <firstname.lastname@example.org>, our website designer, defended her doctoral dissertation, entitled 'Vanishing Acts: Absence, Gender, and Magic in Early Modern Drama, 1558-1642', in September 2014 at McMaster University. Her research examines how early modern playwrights employ absence as a theatrical device to enrich their representations of witchcraft and the supernatural. 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); ‘Divided They Fall: (De)constructing the Triple Hecate in Spenser’s Cantos of Mutabilitie’ in EMLS (2012); and, co-edited with David Klausner and Helen Ostovich, The Chester Cycle in Context, 1555–1575: Religion, Drama, and the Impact of Change (2012).
Peter Cockett <email@example.com> is Assistant Professor in the Theatre and Film Studies Programme at McMaster University’s School of the Arts. Recently, he was the stage director for the Shakespeare and the Queen’s Men project, directing King Leir, The Famous Victories of Henry V, and Friar Bacon and Friar Bungay (Fall 2006) in addition to the project’s initial workshop performance 'An Experiment in Elizabethan Comedy' (Jan 2006). In 2006, he also directed his own adaptation of Shakespeare’s Macbeth for the Toronto Fringe Festival, entitled Macbeth’s Kitchen. In 2009, he performed in another Queen's Men play, Clyomon and Clamydes. 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 worked with Alan Dessen on a special Allegory project (2008). Peter is also a professional actor. Most recent credits include The Memory of Water (Tarragon Theatre/Elgin Winter Garden), episodes of The Border and Murdoch Mysteries (CBC), Write and Wrong (Lifetime), Recipe for a Perfect Christmas (Lifetime), Riding the Bus with my Sister (Hallmark), and Head in the Clouds (Directed by John Duigan).
Jennifer Roberts-Smith <firstname.lastname@example.org> is an Assistant Professor of Drama at the University of Waterloo. Her scholarship focuses on historical performance reconstruction, digital visualizations of theatrical text and performance, the language and dramaturgy of Shakespeare and his contemporaries, and theatre pedagogy. From a methodological point of view, she is interested in the intersections between theory and practice, and continues to work as a director-dramaturge both within and outside the university. Most of her work is collaborative and multi-disciplinary. She publishes and presents with colleagues in diverse venues, including theatre, digital humanities, scholarship of teaching and learning, literature, linguistics, and design conferences and journals, as well as through live performance as a director and dramaturge. Her recent experimental productions in Richard III and A Midsummer Night's Dream. She is preparing an edition of The True Tragedy of Richard III for Queen's Men Editions: the old-spelling edition was prepared with Dimitry Senyshyn (U of Toronto) as part of her production for the Shakespeare and the Queen's Men project, 2007; and the modern critical edition with Toby Malone (Waterloo) is in progress.