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date: 13 November 2019

(p. xix) Contributors

(p. xix) Contributors

Ian W. Archer is Fellow and Tutor in History at Keble College, Oxford. He is author of The Pursuit of Stability: Social Relations in Elizabethan London (Cambridge University Press, 1991, 2003), and numerous articles on various aspects of the social and political history of early modern London. He is Literary Director of the Royal Historical Society, and general editor of its online Bibliography of British History. He is currently working on a general book on early modern London.



John H. Astington is Professor of English and Drama at the University of Toronto. His research and publications have been largely concentrated on the drama and theatre history of England in the sixteenth and seventeenth centuries, although he has also been editor of the journal Modern Drama, and reviewer of contemporary Canadian drama for the University of Toronto Quarterly. He has published widely in journals dealing with the early modern period, and is the author of English Court Theatre 1558–1642 (Cambridge University Press, 1999) and contributor to Thomas Middleton and Early Modern Textual Culture (2007), the companion volume to The Oxford Middleton. He is currently working on a study of actors and acting, The Art of Stage Playing.



Mark Bayer is Assistant Professor of English at the University of Texas at San Antonio. He is the author of Theatre, Community, and Civic Engagement in Shakespeare's London (forthcoming, University of Iowa Press) and numerous articles on Shakespeare and early modern literature and culture.



Mary Bly is an Associate Professor of English Literature, and Director of Graduate Studies, at Fordham University. Her first book, Queer Virgins and Virgin Queans on the Early Modern Stage (2000), was published by Oxford University Press; she is currently finishing The Geography of Puns, a project addressing the geographical, linguistic economies of early modern London, with particular attention to the liberties.



Martin Butler is Professor of English Renaissance Drama at the University of Leeds. His books include Theatre and Crisis 1632–1642 (Cambridge University Press, 1984) and The Stuart Court Masque and Political Culture (Cambridge University Press, 2008). He has edited Cymbeline for the New Cambridge Shakespeare (2005) and The Tempest for Penguin (2007), and (with David Bevington and Ian Donaldson) is general editor of The Cambridge Edition of the Works of Ben Jonson (2008).



(p. xx) S. P. Cerasano is the Edgar W. B. Fairchild Professor of Literature at Colgate University in Hamilton, NY. The author of numerous books and essays on Renaissance drama and various aspects of theatre history, she is currently writing a book on Henslowe's diary and is editing Edward Alleyn's diary for Oxford University Press. Currently, she is the editor of the annual journal Medieval and Renaissance Drama in England.



Ralph Alan Cohen is the Founding Executive Director and Director of Mission at the American Shakespeare Center in Staunton, Virginia. He was the project director for the building of the Blackfriars Playhouse there. He is also the Gonder Professor of Shakespeare and Renaissance Literature in Performance in the Master of Letters and Fine Arts program at Mary Baldwin College. He has directed twenty professional productions of plays by Shakespeare and his contemporaries. In 1990 he directed a student production of Thomas Middleton's Your Five Gallants, which he also co-edited for Oxford University Press's Collected Works of Thomas Middleton.



Alan C. Dessen, Peter G. Phialas Professor (Emeritus) at the University of North Carolina, Chapel Hill, is the author of eight books, four of them with Cambridge University Press: Elizabethan Stage Conventions and Modern Interpreters (1984); Recovering Shakespeare's Theatrical Vocabulary (1995); Rescripting Shakespeare (2002); and, co-authored with Leslie Thomson, A Dictionary of Stage Directions in English Drama, 1580–1642. In 2005 he gave the annual British Academy Shakespeare lecture. Between 1994 and 2001 he was the director of ACTER (A Center for Teaching, Education, and Research). Since 1994 he has been editor or co-editor of the Shakespeare Performed section of Shakespeare Quarterly.



Richard Dutton has been Humanities Distinguished Professor at Ohio State University since 2003. Previously he was at Lancaster University for thirty years. He is best known for his work on early modern censorship, including Mastering the Revels: The Regulation and Censorship of English Renaissance Drama (Macmillan, 1991) and Licensing, Censorship and Authorship in Early Modern England: Buggeswords (Palgrave, 2000). Ben Jonson, ‘Volpone’ and the Gunpowder Plot (Cambridge, 2008) is his third monograph on Jonson. His scholarly editing includes Jonson's Epicene (2003) for the Revels Plays (of which he is a general editor), and Volpone for the Cambridge Ben Jonson. He is working on the revisions of Shakespeare's plays for court performance.



Gabriel Egan is Reader in Shakespeare Studies at Loughborough University. In 2002 he edited The Witches of Lancashire for Nick Hern Books, in 2004 Oxford University Press published his book Shakespeare and Marx, and in 2006 Routledge published his book Green Shakespeare. Shakespeare and Marx was translated into Turkish and published by Hil Yayin of Istanbul in 2006. His most recent book was the Edinburgh Critical Guide to Shakespeare (Edinburgh University Press, 2007). He is currently (p. xxi) writing a history of the twentieth-century theory and practice of editing Shakespeare called Reading Shakespeare's Mind, which Cambridge University Press will publish in 2010.



R. B. Graves is Dean of the College of Fine and Applied Arts and Professor of Theater at the University of Illinois at Urbana-Champaign. His publications include articles on ancient Greek drama, and early modern and Irish theatre, and books on contemporary Asian drama and Shakespearean stagecraft. His Lighting the Shakespearean Stage (Southern Illinois University Press, 1999) won the 2001 Sohmer-Hall Prize of the International Shakespeare Globe Centre in London. He was co-editor and translator of The Metacultural Theater of Oh T'ae-sŏk (University of Hawai'i Press, 1999), an anthology of avant-garde Korean plays that won the 2002 Korean Literature Translation Award.



Peter Greenfield is Professor of English at the University of Puget Sound. He is the editor (with Audrey Douglas) of Cumberland, Westmorland, and Gloucestershire for the Records of Early English Drama series and editor of the annual journal Research Opportunities in Medieval and Renaissance Drama. He has written extensively on travelling players and on dramatic activity outside London. He is currently editing the dramatic records of Hampshire, Hertfordshire, and Bedfordshire.



Eva Griffith is AHRC Research Associate at the University of Durham, working on the Oxford University Press full-scale edition of the works of James Shirley. Her publications include work on the Jacobean stage with the Oxford Dictionary of National Biography entries on Susan Baskervile, Anne Bedingfeild, and ‘Banks, the exhibitor of Morocco the performing horse’. She is currently completing a monograph on the Red Bull playhouse.



Andrew Gurr is Professor Emeritus at the University of Reading, and until recently Director of Globe Research at the International Shakespeare Globe Centre, London. His books include The Shakespearean Stage 1574–1642 (3rd edn, 1992), Playgoing in Shakespeare's London (3rd edn, 2004), and The Shakespeare Company 1594–1642 (2004), all for Cambridge University Press, and The Shakespearian Playing Companies (Clarendon Press, 1996). He has edited several Renaissance plays, including Richard II and Henry V, and the Quarto Henry V.



Heather Hirschfeld is an Associate Professor of English at the University of Tennessee, Knoxville. The author of Joint Enterprises: Collaborative Drama and the Institutionalization of the English Renaissance Theater (University of Massachusetts Press, 2004), she is currently working on a project on revenge tragedy and the Reformation. She has published articles in journals such as ELH, Shakespeare Quarterly, Shakespeare Studies, Renaissance Drama, and PMLA.



William Ingram teaches at the University of Michigan in Ann Arbor. His essays on theatre history have appeared in journals and collections, and his books include (p. xxii) English Professional Theatre, 1530–1660 (Cambridge University Press, 2000; in collaboration with Glynne Wickham and Herbert Berry), a documentary source book; The Business of Playing (Cornell University Press, 1992), a study of the growth of playing companies and playhouses in the 1570s and 1580s; and a biography of Francis Langley, builder of the Swan playhouse. He has also published essays on the use of computers in literary study, one fruit of which was a concordance to Milton's English poetry, one of the earliest computer-generated concordances, published in 1972.



David Kathman is an independent scholar in Chicago, Illinois. His archival research on boy actors, theatrical biography, and London livery companies has resulted in articles in Shakespeare Quarterly, Shakespeare Survey, Early Theatre, Research Opportunities in Medieval & Renaissance Drama, and Notes and Queries, as well as various reviews and book chapters. His current research focuses on inns, taverns, and halls where plays were performed in sixteenth-century London. He has a Ph.D. in linguistics from the University of Chicago and works as a mutual fund analyst for Morningstar.



Roslyn L. Knutson, Professor of English at the University of Arkansas at Little Rock, is the author of Playing Companies and Commerce in Shakespeare's Time (Cambridge University Press, 2001) and The Repertory of Shakespeare's Company, 1594–1613 (University of Arkansas Press, 1991). She has published in numerous journals, annuals, and essay collections. Her long-term projects include a search for the narratives behind lost plays of the Admiral's Men in Henslowe's diary and a study of Marlowe's plays in repertory, 1587–93.



Natasha Korda is Associate Professor of English at Wesleyan University, Middle-town, Connecticut. Her publications include Shakespeare's Domestic Economies: Gender and Property in Early Modern England (University of Pennsylvania Press, 2002) and Staged Properties in Early Modern English Drama (Cambridge University Press, 2003), which she co-edited with Jonathan Gil Harris. She is currently working on a book entitled Labors Lost: Women's Work and the Early Modern English Stage.



Anne Lancashire, Professor of English at the University of Toronto, has edited plays by Lyly and by Middleton, and is most recently the author of London Civic Theatre: City Drama and Pageantry from Roman Times to 1558 (Cambridge University Press, 2002), and of ‘The Mayors and Sheriffs of London 1190–1558’ in C. Barron (ed.), London in the Later Middle Ages (Oxford University Press, 2004). She has written extensively on medieval and early modern drama and theatre history, and is the editor of the forthcoming Records of Early English Drama volumes of the City of London and company records of early drama, pageantry, and music, 1275–1558.



(p. xxiii) Sally-Beth MacLean is Professor of English at the University of Toronto and Executive Editor/Associate Director of the Records of Early English Drama (REED). She is also directing the development of the REED Patrons and Performances web site and other electronic publishing initiatives for the series. She co-authored The Queen's Men and their Plays with Scott McMillin (Cambridge University Press, 1998), a book that won the 1999 Sohmer-Hall Prize from the Globe Theatre. Her research interests have focused recently on provincial performance venues in fifteen counties and cities in England for the REED web site, and on a study of Lord Strange's Men in collaboration with Lawrence Manley.



Kathleen E. McLuskie is Director of the Shakespeare Institute in Stratford upon Avon. She has written numerous articles on the plays of Shakespeare and his contemporary playwrights and is author of Feminist Readings of Renaissance Dramatists and Dekker and Heywood: Professional Dramatists. She has edited Webster's The Duchess of Malfi, a collection entitled Plays on Women, and a collection of essays entitled Shakespeare and the Modern Theatre. She has taught at the universities of Kent and Southampton (where she was also deputy vicechancellor responsible for education and widening access) as well as spending time as a visiting professor in the universities of the West Indies, Colorado, and Massachusetts. She is currently working on an AHRC-funded project, Interrogating Cultural Value in the Twenty-First Century: The Case of Shakespeare.



James J. Marino is Assistant Professor of English at Cleveland State University. His current book project is Owning William Shakespeare: Early Modern Drama as Intellectual Property.



Lucy Munro is a lecturer in English at Keele University. Her publications include Children of the Queen's Revels: A Jacobean Theatre Repertory (Cambridge University Press, 2005) and editions of Pericles for William Shakespeare: Complete Works, edited by Jonathan Bate and Eric Rasmussen (Palgrave Macmillan, 2007), and Edward Sharpham's The Fleer for Globe Quartos (Nick Hern Books, 2006). She has also written essays on subjects including female pirates, 1630s tragicomedy, the reception of early modern comedy in print, and children in film versions of Richard III. She is a contributing editor to forthcoming editions of the plays of James Shirley and Richard Brome, and is writing a book-length study of archaism in early modern literary culture.



Alan H. Nelson is Professor Emeritus in the Department of English at the University of California, Berkeley. His specializations are palaeography, bibliography, and the reconstruction of the literary life and times of medieval and Renaissance England from documentary sources. His most recent solo publication is Monstrous Adversary: The Life of Edward de Vere, Seventeenth Earl of Oxford (Liverpool University Press, 2003). He was editor of Cambridge and is one of four editors of the recently published Oxford (2 vols), both in the Records of Early English Drama series (Toronto: University of (p. xxiv) Toronto Press, 1989, 2004). He is currently at work on London: Inns of Court, also for Records of Early English Drama. His monograph The Library of Humphrey Dyson is forthcoming from the Oxford Bibliographical Society.



Thomas Postlewait teaches in the School of Drama, University of Washington. Since 1991 he has served as editor of the award-winning series Studies in Theatre History and Culture at the University of Iowa Press. Over forty volumes have been published. His publications include Prophet of the New Drama: William Archer and the Ibsen Campaign (Greenwood Press, 1986) and The Cambridge Introduction to Theatre Historiography (2008). He edited William Archer on Ibsen: The Major Essays, 1889–1919 (Greenwood Press, 1984), and co-edited Victorian Science and Victorian Values (New York Academy of Sciences, 1981), Interpreting the Theatrical Past: Essays in the Historiography of Performance (University of Iowa Press, 1989), Theatricality (Cambridge University Press, 2003), and Representing the Past (forthcoming, 2009). He has taught at Cornell University, MIT, the University of Georgia, Indiana University, and Ohio State University, and has served as President of the American Society for Theatre Research (1994–7) and Vice-President for Research in the Association for Theatre in Higher Education (1998–2000). He is editor of the forthcoming letters of Bernard Shaw and William Archer (University of Toronto Press), and is preparing a study on historical research methods and problems for English Renaissance theatre.



Jacalyn Royce teaches at the University of Puget Sound in Tacoma, Washington, where she is chair of the Theatre Arts Department. She teaches history, classical acting, and playwrighting. Jac received her Ph.D. from Stanford University and her BA from the University of California at Santa Cruz. A professional theatre director and member of the Dramatists Guild of America, Jac is currently Artistic Director of the North-west Playwrights Alliance.



Tom Rutter is Senior Lecturer in Renaissance Literature at Sheffield Hallam University. He has published several articles on early modern drama, and his book Work and Play on the Shakespearean Stage is forthcoming in 2008. He is currently working on a book about the repertory of the Admiral's Men.



Michael Shapiro is Professor Emeritus of English at the University of Illinois, where he began teaching in 1967. He has also taught at Cornell, Reading, and Tamkang universities. He is the author of Children of the Revels (Columbia University Press, 1977) and Gender in Play (University of Michigan Press, 1994), as well as articles, notes, and reviews in early modern English drama. He currently works on revisions, adaptations, and appropriations of The Merchant of Venice.



Andrew Sofer is Associate Professor of English at Boston College. He is the author of The Stage Life of Props (University of Michigan, 2003), runner-up for the Barnard Hewitt Award for Outstanding Research in Theatre History. He has (p. xxv) published numerous essays on Shakespeare, Renaissance drama, and modern drama, and has directed many new and classic plays. He is currently working on Dark Matter, a study of theatre and invisibility.



Alan Somerset is Professor Emeritus of English at the University of Western Ontario, retired after forty-one years, specializing in Shakespeare and the theatre of his time. He is the editor of Shropshire for Records of Early English Drama (2 vols, Toronto: University of Toronto Press, 1994), and author of The Stratford Festival Story: A Catalogue-Index to the Stratford, Ontario Festival 1953–1990 (Westport, CT: Greenwood Press, 1991), as well as numerous articles, papers, and reviews. He is currently completing his edition of Staffordshire and Warwickshire for REED, and is engaged in creating, with Dr Sally-Beth MacLean, the Patrons, Performances, and Playing Places web site.



Tiffany Stern is the Beaverbrook and Bouverie Fellow and Tutor in English Literature at University College, Oxford. Her monographs are Rehearsal from Shakespeare to Sheridan (Clarendon Press, 2000), and Making Shakespeare (Routledge, 2004); with Simon Palfrey she co-authored Shakespeare in Parts (Oxford University Press, 2007). She has edited the anonymous King Leir (Nick Hern with Globe Education, 2002) and Sheridan's The Rivals (A. & C. Black, 2004), and is editing George Farquhar's Recruiting Officer, Brome's Jovial Crew, and Shakespeare's Merry Wives. She is a general editor of the New Mermaids play series, and is on the editorial board of the journals Shakespeare, Shakespeare Bulletin, Shakespeare Yearbook, and Review of English Studies. Her current project is to complete a monograph, The Fragmented Play-text in Shakespearean England.



W. R. Streitberger, Professor of English at the University of Washington, is co-editor of an anthology, Drama: Classical to Contemporary (Prentice Hall, 1998, 2001), and author of a number of books and articles on English literature and drama from the late fifteenth to the middle seventeenth century. He is editor of Jacobean and Caroline Revels Accounts, 1603–1642, Malone Society Collections, 13 (1986), and Edmond Tyllney, Topographical Descriptions, Regiments, and Policies of England, Wales, Scotland, and Ireland (Garland, 1991). He is also author of Court Revels, 1485–1559 (University of Toronto Press, 1994) and of articles on the biographies of two of the Masters of the Revels, Sir Thomas Benger (d. 1572) and Edmond Tyllney (d. 1610), published in Review of English Studies (1978, 2004). He is currently writing a book on the revels at Elizabeth I's court and London commercial theatre.



Frances Teague is Josiah Meigs Distinguished Teaching Professor of English at the University of Georgia. Teague has written or edited half a dozen books, most recently Shakespeare and the American Popular Stage (Cambridge University Press, 2006). She also does research on early modern women writers and serves on the advisory board of the Women's Studies Institute.



(p. xxvi) Suzanne Westfall, Chair of the Department of English and Theater at Lafayette College, holds a Ph.D. from the Drama Centre at the University of Toronto. Since arriving at Lafayette in 1981, she has directed over thirty productions for the College Theatre and written widely about theatre and performance, ranging from ancient Greek tragedy to the performance art of Ping Chong. She is the author of Patrons and Performance: Early Tudor Household Revels (Clarendon Press, 1990) and the co-editor, with Paul W. White, of Shakespeare and Theatrical Patronage in Early Modern England (Cambridge University Press, 2002).