David Bevington (email@example.com) is the University of Chicago Phyllis Fay Horton Distinguished Service Professor Emeritus in the Humanities and in English Language & Literature, Comparative Literature, and the College at the University of Chicago. He has dominated the field of early drama since his first book, has edited all of Shakespeare's plays, and been a senior editor for Revels Plays and Revels Student Editions (non-Shakespearean plays), and many other drama projects, such as The Bantam Shakespeare; The Complete Works of Shakespeare, 6th edition, 2008, The Norton Anthology of Renaissance Drama, and The Cambridge Edition of the Works of Ben Jonson. His recent works include Murder Most Foul: Hamlet Through the Ages (Oxford, 2011) and This Wide and Universal Theater: Shakespeare in Performance, Then and Now (Chicago, 2007).
Christian Billing (firstname.lastname@example.org) is senior lecturer in Drama and Theatre Practice at the University of Hull. He has worked practically with and written academically about the practice of The Royal Shakespeare Company; Shakespeare’s Globe (Bankside, London); Northern Broadsides; Kneehigh Theatre Company; and Toneelgroep (Amsterdam). He has also directed and designed over thirty productions of both classical and early modern English plays. His recent publications include ‘Forms of Fashion: Material Fabrics, National Characteristics and the Dramaturgy of Difference on the Early Modern English Stage’, R. Henke and E. Nicholson (eds), Transnational Mobilities in Early Modern Drama (Aldershot, 2014), 131-54; and (ed. and introd,) Rehearsing Shakespeare: Alternative Strategies in Process and Performance, Special Issue of Shakespeare Bulletin 30.4 (2012).
Pamela Allen Brown (Pamela.Brown@uconn.edu) is associate professor in the department of English at the University of Connecticut. She is an expert on comedy and the actress in commedia dell'arte. Her recent publications include ‘The Inamorata’, short film and essay on TDF Theatre Dictionary website, Theatre Development Fund, New York (15 July 2014), http://dictionary.tdf.org/inamorata/; ‘Dido, Boy Diva of Carthage: Marlowe’s Dido Tragedy and the Renaissance Actress’, E. Nicholson and R. Henke (eds), Transnational Exchange in Early Modern Drama II (Aldershot, 2014); and ‘“Cattle of this colour”: Boying the Diva in As You Like It’, Early Theatre 15.1 (2012), 145-66. Her publications include Better a Shrew than a Sheep: Women, Drama and the Culture of Jest in Early Modern England, Women Players in England 1500-1660: Beyond the All-Male Stage (with Peter Parolin), and As You Like It: Texts and Contexts (with Jean E. Howard). She has also directed ‘Amorous Debate on Arms and Letters, by Isabella Andreini (1617)’, a short film based on Andreini's Fragmenti di alcune scritture.
Rob Conkie (email@example.com) is senior lecturer in Theatre and Drama at La Trobe University, Melbourne, Australia. His productions of Shakespeare, including workshop productions for the ARC Centre of Excellence for the History of Emotions, range from political adaptations to ‘original practices’ productions and have been staged in festivals in both the UK and Australia, including an Australian Indigenous Hamlet, and an ‘original practices’ Othello and Henry IV, Part 1, the latter of which was nominated for Best Production, Best Director, and Best Male Performer. His recent publications include ‘Holofernes, Peregrine and I: Australian Campus Shakespeare’, A. Hartley (ed.), Shakespeare and the Campus Stage, (Cambridge, 2014); ‘Rehearsal: The Pleasures of the Flesh’, Rehearsing Shakespeare: Alternative Strategies in Process and Performance, Special Issue of Shakespeare Bulletin, 30.4 (2012), 411-30; and ‘Entrances and Exits’, B. Escolme and S. Hampton-Reeves (eds), Shakespeare and the Making of Theatre (New York, 2012), 32-49.
Karen Cunningham (firstname.lastname@example.org) is senior continuing lecturer in the department of English at the University of California, Los Angeles and Faculty Coordinator for Writing in the English Major at UCLA. Her recent publications include ‘Women, Law, and Culture’, a series of twenty-five entries for The Shakespeare Encyclopedia, ed. P. Parker (forthcoming); ‘“The Lawyer Sayeth”: Shakespeare and the Law’, J. Levenson and R. Ormsby (eds), The Shakespearean World (Routledge, forthcoming); and with Constance Jordan (eds), The Law in Shakespeare (New York, 2007).
Jessica Dell (email@example.com), 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).
Alan Dessen (firstname.lastname@example.org) is Peter G. Phialas Professor (Emeritus) of English in the department of English and Comparative Literature at the University of North Carolina, Chapel Hill. Dessen’s areas of expertise over the last 50 years include the late moral plays from the 1560, 1570s, and 1580s; how plays were staged in early modern drama; and the residue of onstage allegory in the 1590s and early 1600s. In 2010 he co-directed (with Peter Cockett) a workshop at the University of Toronto in which scenes from eleven plays were staged to explore these three topics. His recent publications include ‘On-stage Allegory and its Legacy: The Three Ladies of London’, H. Ostovich, H.S. Syme, and A. Griffin (eds), Locating the Queen’s Men, 1583-1603: Material Practices and Conditions of Playing (Farnham, 2009), 147-58; and with L. Thomson, A Dictionary of Stage Directions in English Drama, 1580–1642 (Cambridge, 1999).
Fatima Ebrahim (email@example.com) is a doctoral candidate at the University of Western Ontario. Her dissertation focuses on anxieties of religious conversion and/or assimilation between Muslims, Christians, and Jews in early modern drama with an emphasis on food and the ways diet regimes articulate these anxieties. She recently published a review of S. Schulting, S. Muller, and R. Hertel (eds), Early Modern Encounters with the Islamic East for Theatre Survey 55.1 (January 2014), 116-18.
Elizabeth Hanson (firstname.lastname@example.org) is professor in the department of English at Queen’s University. She has written on law and Shakespeare, economics and Jacobean drama, Renaissance women’s writing, and the Elizabethan use of interrogatory torture. Her recent publications include ‘Education, the University and Marlowe’, E. Bartels and E. Smith (eds), Christopher Marlowe in Context (Cambridge, 2013), 181-91; ‘Object Lesson: The Register of the School’s Probation, Merchant Taylors’ School, 1606’, Journal of the History of Childhood and Youth 6.3 (2013), 411-27; and ‘Fellow Students: Hamlet, Horatio and the Early Modern University’, Shakespeare Quarterly 62.2 (2011), 205-9; Discovering the Subject in Renaissance England (Cambridge, 1998; re-issued in paperback, 2008).
Brett Hirsch (email@example.com) is ARC Discovery Early Career Research Fellow; research assistant professor of English and Cultural Studies at the University of Western Australia. He is an expert on literary and dramatic representations of Jews in the early modern period. His recent publications include ‘Judaism and Jews’, Bruce R. Smith (ed.), The Cambridge Guide to the Worlds of Shakespeare, Vol. 1. Shakespeare’s World, 1500–1660 (Cambridge, 2015); ‘Three Wax Images, Two Italian Gentlemen, and One English Queen’, L. Hopkins and H. Ostovich (eds), Magical Transformations on the Early Modern English Stage (Farnham, 2014), 243-65; ‘The Taming of the Jew: Spit and the Civilizing Process in The Merchant of Venice’, Rory Loughnane and Edel Semple (eds), Staged Transgression in Shakespeare’s England (New York, 2013), 136-52; and ‘“To see the Playes of Theatre newe wrought”: Electronic Editions and Early Tudor Drama’, Early Theatre 16.2 (2013): 211-49.
Lisa Hopkins (firstname.lastname@example.org) is professor of English and head of Graduate School in the Humanities Research Centre at Sheffield Hallam University. Her recent publications include Renaissance Drama on the Edge (Farnham, 2014); with Helen Ostovich (eds), Magical Transformation on the Early Modern Stage (Farnham, 2014); ‘Marlowe’s Literary Influence’, Emma Smith and Emily Bartels (eds), Christopher Marlowe in Context (Cambridge, 2013), 306-15; ‘“Truest of the Twain”: History and Poetry in Edward II’, Marlowe Studies 3 (2013), 111-27; and Drama and the Succession to the Crown, 1561-1633 (Farnham, 2011).
Anders Ingram (email@example.com) is Government of Ireland postdoctoral researcher at the National University of Ireland, Galway, and currently working on his first book, ‘Writing the Ottomans: Turkish history in early modern England’. Previously he was IRC postdoctoral fellow on the Hakluyt Project (www.hakluyt.org). His recent publications include ‘The Ottoman siege of Vienna (1683), English ballads and the Exclusion Crisis’, The Historical Journal 57.1 (2014), 53-80; ‘George Bishop (1538?-1610/11)’, Oxford Dictionary of National Biography (Oxford, 2013); and ‘Depictions of Islam in Seventeenth-Century English Travel Accounts’, Katherine Salahi (ed.), Knowledge is Light: Travellers in the Near East (Oxford, 2011), 8-18.
Jacqueline Jenkins (firstname.lastname@example.org) is associate professor and head of the department of English at the University of Calgary. She is an accomplished scholar in Performance as Research and an experienced play editor, combining that work when possible with women's voices in early theatre. Her recent publications include ‘The Circulation and Compilation of Devotional Books: Assessing the Material Evidence of Women’s Reading’, R. Demaria, Jr., H. Chang and S. Zacher (eds), The Blackwell Companion to British Literature, Volume 1: Medieval Literature, 700-1450 (Malden MA, 2014), 337-54; with J. Sanders (eds), Editing, Performance, Texts: New Practices in Medieval and Early Modern English Drama (New York, 2014); and with M. Polito (eds), The Humorous Magistrate (Osborne): University of Calgary, Osborne MsC 132.27 (The Malone Society Publications, 2011).
Janelle Jenstad (email@example.com) is assistant coordinating editor of Internet Shakespeare Editions and associate professor in the department of English at the University of Victoria. She is also founder and director of The Map of Early Modern London (http://mapoflondon.uvic.ca/). Her forthcoming publications include with J. Roberts-Smith (eds), Shakespeare’s Language in Digital Media: Old Words, New Tools (Farnham); ‘Restoring Place to the Digital Archive: The Map of Early Modern London’, H.B. Hackel and I.F. Moulton (eds), Approaches to Teaching Early Modern Literature from the Archives (New York); ‘Building a TEI Gazetteer for Early Modern London, 1550-1650’, R. Mostern, H. Southall, and M.L. Berman (eds), Placing Names: Enriching and Integrating Gazetteers (Indianapolis IN).
Sarah Johnson (firstname.lastname@example.org) is adjunct professor in the department of English at the Royal Military College of Canada and associate editor of Early Theatre. Previously she held a SSHRC Postdoctoral Fellowship at Queen’s University. Her recent publications include Staging Women and the Soul-Body Dynamic in Early Modern England (Farnham, 2014); ‘The Female Body as Soul in Queen Anna’s Masques’, SEL Studies in English Literature 1500-1900, 53.2 (2013), 357-77; and ‘“A Spirit to Resist” and Female Eloquence in The Tamer Tamed’ Shakespeare 7.3 (2011), 309-24.
Claire Jowitt (email@example.com) is professor of English Literature and head of research, in the department of English at the University of Southampton. She is currently editing a collection of essays, Travel and Drama in the English Renaissance, for OUP. She is also a general editor for OUP’s forthcoming edition of Richard Hakluyt’s The Principal Navigations (1598-1600), a compendium of hundreds of accounts of travel, trade, and encounter. Her recent publications include ‘“To sleep, perchance to Dream”: The Politics of Travel in the 1630s’, The Yearbook of English Studies 44 (2014), 249-64; ‘Shakespeare’s Pirates: the Politics of Seaborne Crime’, Shakespeare Jahrbuck 148 (2012), 65-86; and ‘Robert Wilson’s The Three Ladies of London (1581) and its Theatrical and Cultural Contexts’, T. Betteridge and G. Walker (eds), The Oxford Handbook of Tudor Drama (Oxford, 2012), 309-22.
Erin Kelly (firstname.lastname@example.org) is associate editor of Early Theatre and assistant professor of English at the University of Victoria. Recent publications include ‘Conflict of Conscience and Sixteenth-Century Religious Drama’, English Literary Renaissance 44.3 (September 2014); contributing editor, ‘Introduction: Why Attend to Earlier Tudor Drama?’ 165-70, for ‘Issues in Review: New Approaches to Earlier Tudor Drama’, 165-249, Early Theatre 16.2 (2013); ‘“They do violence to him”: Dismembering the Body Politic in The Rebellion of Naples’, D. Uman and S. Morrison (eds), Staging the Blazon in Early Modern English Theater (Farnham, 2013), 149-62; and ‘Doubt and Religious Drama Across Sixteenth-Century England, or Did the Middle Ages Believe in Their Plays?’, J. Dell, D. Klausner, and H. Ostovich (eds), The Chester Cycle in Context, 1555-1575 (Farnham, 2012), 47-63.
Lloyd Edward Kermode (email@example.com) is professor of English at California State University, Long Beach and co-director of the Center for Medieval and Renaissance Studies, CSULB. He is a prolific modern author of articles on Three Ladies, having edited the play (Revels Companions, 2008) in the context of other usury plays, and has written the most recent assessment of Robert Wilson for The Encyclopedia of English Renaissance Literature, eds G. Sullivan and A. Stewart, 2012. His publications include with J. Dillon (ed.),‘Space and Place in Early Modern Drama’, Special issue of Journal of Medieval and Early Modern Studies 43.1 (2013) (introd. L.E. Kermode); ‘King Leir within the Thicket: Gender, Place, and Power’, Renaissance and Reformation 35.1 (2012), 65-83; ‘Money, Gender, and Conscience in Robert Wilson’s The Three Ladies of London’, Studies in English Literature 52.2 (2012), 265-91; and Aliens and Englishness in Early Modern Drama (Cambridge, 2009).
Andy Kesson (firstname.lastname@example.org) is senior lecturer in Renaissance Literature in the department of English and Creative Writing at the University of Roehampton. He is currently involved in a project on the theatre of the 1580s, with a focus on boy companies (for whom John Lyly wrote many plays) and the influence of boy actors on the playing of adult roles in other companies. His recent publications include John Lyly and Early Modern Authorship (Manchester, 2014); and with Emma Smith (eds), The Elizabethan Top Ten: Defining Print Popularity in Early Modern England (Farnham, 2013).
Omar Khafagy (email@example.com) is a a fourth year honours student in the Department of English and Cultural Studies at McMaster University. He has performed as Shylock in The Merchant of Venice, Javert in Les Miserables, Sherdian Whiteside in The Man Who Came To Dinner. After a near ten year absence from the stage during which he freelanced as a direct response copywriter, Omar is returning to the stage as Gerontus in The Three Ladies of London.
Roslyn L. Knutson (RLKnutson@ualr.edu) is emerita professor at the University of Arkansas at Little Rock. She serves on the advisory board for Queen’s Men Editions, the editorial board for Shakespeare Quarterly, and the executive committee, Marlowe Society of America. She is a pioneer in the field now called Repertory Studies. Her recent publications include ‘The Jew of Malta in Repertory’, R.A. Logan (ed.), The Jew of Malta: A Critical Guide, Arden Early Modern Drama Guides (London, 2013), 79-105; and ‘The Adult Companies and the Dynamics of Commerce’, S. Gossett (ed.), Thomas Middleton in Context (Cambridge, 2011), 168-75; ‘Repertory System’, A. Kinney (ed.), The Handbook of Shakespeare (Oxford, 2011), 400-14; ‘The Start of Something Big’, H. Ostovich, H.S. Syme, and A. Griffin (eds), Locating the Queen’s Men: Material Practices and Conditions of Playing, 1583-1603 (Farnham, 2009), 99-108.
Carole Levin (firstname.lastname@example.org) is a Fulbright Scholar at the University of York (spring/summer 2015) and Willa Cather professor of History and director of the Medieval and Renaissance Studies Program at the University of Nebraska. She is the only scholar writing on the queen as patron of the Queen's Men, from whom the queen received messages about the state of the country. Her publications include The Heart and Stomach of a King: Elizabeth I and the Politics of Sex and Power, New Cultural Studies Series, 1994; 2nd edn (Philadelphia, 2013); with C. Beem, ‘The Itinerarium and Sixteenth Century English Queenship’, D. Moore and C. Beem (eds), The Name of a Queen: William Fleetwood's Itinerarium ad Windsor: A Critical Edition and Contextual Essays (New York, 2013), 155-73; and guest editor, Explorations in Renaissance Culture Special Issue: ‘Scholarship on Elizabeth I’, 37.1 (2011).
Jeremy Lopez (email@example.com) is associate professor in the department of English at the University of Toronto. He is not only an astute scholar in critical theorizing but also a skilled director (Every Man Out of his Humour, Ram Alley) who used Performance as Research to expand understanding of the plays on which he works. His publications include Constructing the Canon of Early Modern Drama (Cambridge, 2014); ‘Dumbshow’, H.S. Turner (ed.), 21st-Century Approaches to Early Modern Theatricality (Oxford, 2013), 291-305; ‘From Bad to Verse: Poetry and Spectacle on the Modern Shakespearean Stage’, J. Post (ed.), The Oxford Handbook to Shakespeare’s Poetry (Oxford, 2013), 340-55; and ‘Success the Whitefriars Way: Ram Alley and the Negative Force of Acting’, Renaissance Drama 39 (2010), 199-225.
Mathew R. Martin (firstname.lastname@example.org) is full professor in the department of English Language and Literature at Brock University, Canada. Author of Between Theater and Philosophy: Skepticism in the Major City Comedies of Jonson and Middleton (2001) and Tragedy and Trauma in the Plays of Christopher Marlowe (2015), he has published essays on Nashe, Marlowe, Shakespeare, Jonson, Middleton, and Ford. He has also edited The Famous Victories of Henry V for the Queen’s Men Editions, Marlowe’s Edward the Second, The Jew of Malta, Doctor Faustus: The B Text, and Tamburlaine the Great Part One and Part Two for Broadview Editions, and is currently editing George Peele’s David and Bathsheba for Revels.
Roderick McKeown (email@example.com) is a part-time lecturer for the Office of English Language and Writing Support in the School of Graduate Studies at the University of Toronto, where he recently defended his PhD under the supervision of Lynne Magnusson. His thesis, on the role of speech acts in asserting and consolidating social status, won the 2014 Clifford Leech Prize for the best doctoral thesis on dramatic literature at the University of Toronto. Recent publications include articles on All Is True for Shakespeare Survey and Much Ado for Shakespeare. He is currently regional performance editor (Ontario) for the Internet Shakespeare Editions performance archive, and is developing a proposal for an edition of The Comedy of Errors for ISE, focusing on the play’s generic relationship with city comedy.
David McInnis (firstname.lastname@example.org) is vice president and bulletin editor for the Australian and New Zealand Shakespeare Association (ANZSA); and executive committee member, book review editor, and current Roma Gill Award Committee member for the Marlowe Society of America (MSA). He created the idea for The Lost Play Database, and with M. Steggle co-edited their recent book, and co-wrote two chapters (‘Nothing will come of nothing? Or, What can we learn from plays that don’t exist?’ and ‘“2 Fortune’s Tennis” and the Admiral’s men’) in Lost Plays in Shakespeare’s England (Basingstoke, 2014). Other publications include Thomas Dekker, Old Fortunatus, ed. David McInnis (Manchester, forthcoming 2015); ‘Webs of Engagement’, C. Carson and P. Kirwan (eds), Digital Shakespeare: A Shifting Landscape (Cambridge, 2014), 43-56; ‘Shakespeare and the Atlantic World’, T. Burnard (ed.), Oxford Bibliographies in Atlantic History (New York, 2014); and ‘Cupid’s Grand Polititian (1657)’, Early Theatre 16.2 (2013), 157-64.
Kirk Melnikoff (email@example.com) is associate professor in the department of English at the University of North Carolina at Charlotte. He is a distinguished bibliographer of the period and also a specialist on Robert Greene, one of the Queen's Men playwrights. His publications include ‘The Jew of Malta as Print Commodity in 1594’, Robert Logan (ed.), The Jew of Malta: A Critical Guide (London, 2013), 129-48, 218-24; ‘Nicholas Ling’s Republican Hamlet (1603)’, Marta Straznicky (ed.), Shakespeare’s Stationers (Philadelphia, 2012), 95-111, 335-341; ‘Thomas Hacket and the Ventures of an Elizabethan Publisher’, The Library, Seventh Series 10.3 (2009), 257-71; and ‘Jones’s Pen and Marlowe’s Socks: Richard Jones, Tamburlaine the Great (1590), and the Beginnings of English Dramatic Literature’, Studies in Philology 102.2 (2005), 184-209.
Bryan Nakawaki (firstname.lastname@example.org) is a graduate candidate in the department of English at Purdue University. Along with Paul Whitfield White, he is co-editing a digital edition of Robert Wilson's The Three Lords and Three Ladies of London for Queen's Men Editions. He will be a performer and dramaturgical assistant for Purdue's production of The Three Lords and Three Ladies of London, to be performed at the University of Toronto in 2015 alongside a cut version of Three Ladies of London.
Helen Ostovich (email@example.com) 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).
Daryl Palmer (dpalmer@Regis.edu) is professor in the department of English at Regis University. His publications include ‘Motion and Mercutio in William Shakespeare’s Romeo and Juliet’, Philosophy and Literature 30.2 (2006), 540-54; Rpt in Janyce Marson (ed.), Bloom’s Shakespeare Through the Ages: Romeo and Juliet (New York, 2008); ‘Merchants and Miscegenation: The Three Ladies of London, The Jew of Malta, and The Merchant of Venice’, J. MacDonald (ed.), Race, Ethnicity, and Power in the Renaissance (Madison NJ, 1997), 36-66; Hospitable Performances: Dramatic Genre and Cultural Practices in Early Modern England (West Lafayette IN, 1992); and ‘William Kemp's Nine Daies Wonder and the Transmission of Performance Culture’, Journal of Dramatic Theory and Criticism 6 (1991), 33-47.
Kevin Quarmby (firstname.lastname@example.org) is assistant professor of English at Oxford College of Emory University. He is editor of 1 Henry VI for Internet Shakespeare Editions, and Editor of ISE's performance review Chronicle (ISEC). His first book, The Disguised Ruler in Shakespeare and His Contemporaries (Farnham, 2012), was shortlisted for the 2014 Globe Theatre Book Award. His recent work includes ‘“Would they not wish the feast might ever last?”: Strong Spice, Oral History and the Genesis of Globe to Globe’, Multicultural Shakespeare 6 (forthcoming 2015) and, with G.E. Minton, ‘The Wrathful Dragon versus the Foolish, Fond Old Man: Duality of Performance in the 2013 Oregon Shakespeare Festival’s King Lear’, Cahiers Élisabéthains 86 (2014). Additional publications include ‘Lady Macbeth, First Ladies and the Arab Spring: The Performance of Power on the Twenty-First Century Stage’, A. Thompson (ed.), Macbeth: Arden Critical Currents (London, 2014), 107-33; and ‘Sexing Up Goneril: Feminism and Fetishization in Contemporary King Lear Performance’, G. McMullan, L.C. Orlin, and V.M. Vaughan (eds), Women Making Shakespeare (London, 2013), 321-33.
Eleanor Rycroft (email@example.com) is a Lecturer in Theatre and Performance Studies at the University of Bristol, with experience of practice-based research having worked on the 'Staging the Henrician Court' (Oxford Brookes University) and 'Staging and Representing the Scottish Renaissance Court' (Edinburgh University), projects which staged sixteenth-century drama in historic sites. Recent publications include 'Morality, Theatricality and Masculinity in the Interlude of Youth and Hick Scorner' in The Oxford Handbook of the Tudor Drama (OUP, 2012), and 'The Play of the Weather in Performance in the Great Hall of Hampton Court' for Medieval English Theatre 31 (2009) 13-21.
Duncan Salkeld (firstname.lastname@example.org) is professor in Shakespeare Studies in the department of English and Creative Writing at the University of Chichester. His published works include Shakespeare Among the Courtesans: Literature, Prostitution and Drama, 1500-1650 (Farnham, 2012); ‘Theatrical References in the Bridewell Hospital Court of Governors’ Minute Books’, Eugene Giddens (ed.), Malone Society Collections XVI (Manchester, 2011); ‘Shakespeare and the “I-word”, STYLE (special issue on ‘Shakespeare and Intention’) 44. 3 (Fall 2010), 328-41; and ‘Silence, Seeing and Performativity: Leonardo, Sidney and Shakespeare’, Michele Marrapodi (ed.), Shakespeare and Renaissance Literary Theories: Anglo-Italian Transactions (Ashgate, 2010), 247-64.
Edel Semple (email@example.com) is lecturer in Shakespeare Studies in the department of English at University College Cork. Her work on gender studies and drama have led to investigating notions of ‘foreignness’, about which she is co-organising a seminar for the 2015 European Shakespeare Research Association conference on the subject of ‘European Women in Early Modern Drama’. Her publications include Edward Webbe’s The rare and most wonderfull things which Edw. Webbe an Englishman borne, hath seene and passed in his troublesome travailes (London, 1590) on Reading East: Irish Sources and Resources, http://www.ucd.ie/readingeast/index.html (forthcoming); with Rory Loughane (eds), Staged Transgression in Shakespeare’s England (New York, 2013); ‘Rethinking Transgression with Shakespeare’s Bawds’ (in Staged Transgression); and ‘King Lear presented at the Abbey Theatre, Dublin, 22 February 2013’, Early Modern Literary Studies 16.3 (2013).
Meredith Skura (firstname.lastname@example.org) received her PhD from Yale, and is currently the Libby Shearn Moody Professor of English at Rice University. She has written The Literary Use of the Psychoanalytic Process (1981), Shakespeare the Actor and the Purposes of Playing (1993), from which chapter 3 was rerpinted as ‘Armado and Costard in the French Academy: Player as Clown’ in ‘Love's Labour's Lost’: Critical Essays, Felicia Hardison Londre (ed.) (New York, 1997), 313-23; and Tudor Autobiography: Listening for Inwardness (2008), along with articles on Elizabethan and Jacobean Drama.
Matthew Steggle (email@example.com) is professor of English at Sheffield Hallam University. His publications include ‘Notes Towards an Analysis of Early Modern Applause’, K.A. Craik and T. Pollard (eds), Shakespearean Sensations: Experiencing Literature in Early Modern England (Cambridge, 2013), 118-37; ‘The Alchemist: The State of the Art’, E. Julian and H. Ostovich (eds), The Alchemist: A Critical Reader, Arden Early Modern Drama Guides (London, 2013), 75-103; Ben Jonson, Cynthia's Revels, or the Fountain of Self-Love, ed. with E. Rasmussen, for M. Butler, D. Bevington, and I. Donaldson (gen. eds), The Cambridge Edition of the Works of Ben Jonson (Cambridge, 2012), 1.429-548, 5.1-100; (ed.) Volpone: A Critical Guide (London, 2011); and Richard Brome, The English Moor, ed. Matthew Steggle, for, R.A. Cave (gen. ed.), Richard Brome Online (2010), http://www.hrionline.ac.uk/brome/.
Andrea Stevens (http://www.hrionline.ac.uk/brome/) is associate professor in the department of English, Theatre, and Medieval Studies at the University of Illinois at Urbana-Champaign. Her forthcoming work includes two books – Shakespeare and the Performance of the Commonplace (in progress); Caroline Metadrama: Insider Theatre in England, 1625-1642 (in progress) – and two book-chapters, ‘“Yet I have a braver way than these”: A Performance History of Edward II’, K. Melnikoff (ed.), Edward II: A Critical Reader (in progress; Arden Early Modern Drama Guide); and ‘Shakespeare Without Resources’, A. Hartley (ed.), Shakespeare on the College and University Stage (Cambridge, 2014). Other publications include Inventions of the Skin: The Painted Body in Early English Drama 1400-1642 (Edinburgh, 2013); ‘Cosmetic Transformations’, F. Karim-Cooper and T. Stern (eds), The Effects of Performance in the Theatres of Shakespeare and His Contemporaries (London, 2013), 94-117; and ‘Drama as Performance and Text’, M. Hattaway (ed.), A New Companion to English Renaissance Literature and Culture (Malden MA, 2010), 502-12.
Jessica Swain (firstname.lastname@example.org) is a PhD Candidate in the English and Cultural Studies program at McMaster University. Her dissertation, ‘Performing the Virtuous Woman: Embodiment and Landscape Aesthetics in Early Modern English Drama and Masques’, examines female performance through garden design. Reimaging performances in terms of the garden opens up a space for the performing female to reveal the ontological instability the masculinist gaze rests upon. Jessica is also a professional actor. Her most recent credit is ‘When the Day Comes’ (dir. Kavar Singh). She has also worked as an assistant set designer with her acting troop in Calgary.
Leslie Thomson (email@example.com) is professor of English at the University of Toronto. Her work with A. Dessen, A Dictionary of Stage Directions in English Drama, 1580–1642 (Cambridge, 1999) is now a standard reference book for scholars and theatre practitioners. Her other publications include ‘Blackfriars Stage Sitters and the Staging of The Tempest, The Maid’s Tragedy and The Two Noble Kinsmen’, K. Moncrief, K. McPherson, S. Enloe (eds), Shakespeare Embodied (Madison, NJ, 2013), 175-85; ‘Staging on the Road, 1586-1594: A New Look at Some Old Assumptions’, Shakespeare Quarterly 61 (2010): 526-50; and ‘Playgoers on the Outdoor Stages of Early Modern London’, Theatre Notebook 64 (2010), 3-11.
Daniel Vitkus (firstname.lastname@example.org) is Rebeca Hickel Chair in Early Modern Literature at the University of California at San Diego and 2014-15 Center for the Humanities Faculty Fellow, UCSD. His publications include ‘Ridding the World of a Monster: Lodge’s A Margarite of America and Cavendish’s Last Voyage’, Yearbook of English Studies 41.1 (January 2011), 99-112; ‘Labor and Travel on the Early Modern Stage: Representing the Travail of Travel in Dekker’s Old Fortunatus and Shakespeare’s Pericles’, M. Dowd and N. Korda (eds), Working Subjects in Early Modern English Drama (Farnham, 2011), 225-42; A Critical Edition of William Shakespeare’s Othello (New York, 2007); Turning Turk: English Theater and the Multicultural Mediterranean, 1570-1630 (New York, 2003); and, as editor, Three Turk Plays from Early Modern England: Selimus, Emperor of the Turks; A Christian Turned Turk; and The Renegado (Columbia NY, 1999).
Paul White (email@example.com) is professor in the department of English at Purdue University. Recent publications include ‘Major Acting Troupes of Tudor England 1485-1583’, Oxford Handbooks Online in Literature (forthcoming); ‘John Whitgift, the Plague, and Thomas Nashe’s Summer’s Last Will and Testament, E. Williamson and J. Degenhardt (eds), Religion and Drama in Early Modern England’ (Farnham, 2011), 139-52; ‘Interludes, Commerce, and Social Ills in Early Elizabethan England’, M. Pincombe and C. Shrank (eds), The Oxford Handbook of Tudor Literature, 1485-1603 (Oxford, 2009), 555-70; ‘The Queen’s Men in Elizabethan Cambridge’, H. Ostovich, H.S. Syme, and A. Griffin (eds), Locating the Queen’s Men, 1583-1603: Material Practices and Conditions of Playing (Farnham, 2009), 41-50; and Drama and Religion in English Provincial Society, 1485-1660 (Cambridge, 2008).
Katrine Wong (firstname.lastname@example.org) is assistant professor in the department of English at the University of Macau and assistant conductor, Coro Perosi, Macau. Her main research interests are music in theatre and Renaissance drama. She has recently finished a project ‘Shakespeare, Music, and Stage: A Theatrical Discourse in RSC Productions (1960-2006)’, funded by the UM Research Committee. Additional publications include K. Wong and G.C.X. Wei (eds), Macao: Cultural Interaction and Literary Representations (Oxford, 2014), to which she contributed the Introduction; Music and Gender in English Renaissance Drama (New York, 2013); and ‘A Dramaturgical Study of Merrythought’s Songs in The Knight of the Burning Pestle’, Early Theatre 12.2 (2009), 91-116.