Theater artists José Cruz González and David Lozano join us in this episode. Their conversation “On Making Shakespeare Relevant to Latinx Communities” appears in the new book Shakespeare and Latinidad. González and Lozano talk with Barbara Bogaev about adapting and translating Shakespeare, performing and directing it in ways that make it relevant to Latinx audiences, and whether the Bard has a place at theater companies working to carve out a space for Latinx voices. José Cruz González received the NEA Directing Fellowship in 1985 and the 2010 Kennedy Center National Teaching Artist Grant. His plays include American Mariachi, Sunsets & Margaritas, and The Astronaut Farmworker. He’s also a professor of Theatre Arts at Cal State Los Angeles. David Lozano is Executive Artistic Director of Cara Mía Theatre in Dallas. In 2014, he was recognized by The Dallas Observer as one of six “Masterminds of Arts & Culture.” He co-wrote and directed Deferred Action and Crystal City 1969, which was named the “Best New Play of 2009” by The Dallas Morning News. Their chapter on “On Making Shakespeare Relevant to Latinx Communities” appears in Shakespeare and Latinidad, a collection of essays in the field of Latinx theatre, edited by Carla Della Gatta and Trevor Boffone. Shakespeare and Latinidad was published by Edinburgh University Press in June 2021. From the Shakespeare Unlimited podcast. Published October 12, 2021. © Folger Shakespeare Library. All rights reserved. This podcast episode, “I Understand Thee and Can Speak Thy Tongue,” was produced by Richard Paul. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. Leonor Fernandez edits a transcript of every episode, available at folger.edu. We had technical help on this episode from Andrew Feliciano & Evan Marquart at Voice Trax West in Studio City, California, and Todd Cotham and Aaron Carpenter at fifty50studios in Dallas.

Folger Shakespeare Library: Shakespeare Unlimited

Shakespeare in Latinx Communities, with José Cruz González and David Lozano

Shakespeare wrote a lot about English kings and queens. Over the last three hundred years, a lot of English kings and queens have gotten really into Shakespeare. Our guest Gordon McMullan is the Principal Investigator of Making History: Shakespeare and the Royal Family, a new online exhibition that examines the long relationship between Shakespeare and the British royal family. That includes queens pretending to love Shakespeare as much as they thought Elizabeth I did, princes patterning themselves after Hal, and kings writing melancholy marginalia in copies of The Complete Works. McMullan is interviewed by Barbara Bogaev. Gordon McMullan is a Professor of English and Director of the London Shakespeare Centre at King's College London. From the Shakespeare Unlimited podcast. Published September 28, 2021. © Folger Shakespeare Library. All rights reserved. This podcast episode, “Say, What Art Thou That Talk'st of Kings and Queens?” was was produced by Richard Paul. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. Leonor Fernandez edits a transcript of every episode, all available at folger.edu. We had technical help from Andrew Feliciano and Evan Marquart at Voice Trax West in Studio City, California.

Shakespeare and the British Royal Family, with Gordon McMullan

In Mike Lew's play "Teenage Dick," Richard, a high-school senior with cerebral palsy, is determined to become class president by any means necessary. Commissioned by theater artist Gregg Mozgala and The Apothetae, the company Mogzala started to explore the disabled experience, Lew's comedy drops Shakespeare's "Richard III" in a modern American high school. Barbara Bogaev interview Lew about about the play’s origins, tropes around disability, and how his story reframes Richard's motivations. Teenage Dick will be onstage three times this fall and winter, in a production directed by Moritz Von Stuelpnagel: at Washington, DC's Woolly Mammoth Theatre Company September 22 – October 17, at Boston's Huntington Theater December 3 – January 9, and at California's Pasadena Playhouse February 1 – February 27. Mike Lew is a 2021 Guggenheim Fellow, The Mellon Foundation Playwright-in-Residence at Ma-Yi Theater in New York, and the former La Jolla Playhouse Artist-in-Residence. His plays include Tiger Style!, Bike America, microcrisis, and the book to the musical Bhangin’ It. From the Shakespeare Unlimited podcast. Published September 14, 2021. © Folger Shakespeare Library. All rights reserved. This podcast episode, “Plots Have I Laid, Inductions Dangerous,” was produced by Richard Paul. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. We had technical help from Evan Marquart and Susan Palyo at VoiceTrax West in Studio City, California. Leonor Fernandez edits our transcripts.

Mike Lew on Teenage Dick

In her new novel, "All’s Well," author Mona Awad combines elements of Shakespeare's "All’s Well That Ends Well" and "Macbeth" and the 1999 movie "Election" to tell the story of Miranda Fitch, a theater professor with a mutinous cast of actors and excruciating chronic pain. What do those plays have in common, and how did Awad weave them together to create her darkly funny new book? She is interviewed by Barbara Bogaev. Dr. Mona Awad is the author of three novels. "13 Ways Of Looking At A Fat Girl," published by Penguin in 2016, won the Amazon Best First Novel Award. Her 2019 novel, "Bunny," was a finalist for a GoodReads Choice Award for Best Horror. Her novel "All’s Well" was published by Simon & Schuster and Penguin Canada in August 2021. Awad has taught creative writing at Brown University, the University of Denver, Framingham State University, Tufts and in the MFA program at University of Massachusetts, Amherst. From the Shakespeare Unlimited podcast. Published August 31, 2021. © Folger Shakespeare Library. All rights reserved. This podcast episode, “Lord, How We Lose Our Pains!,” was produced by Richard Paul. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. Leonor Fernandez edits a transcript of every episode, available at folger.edu. We had technical help from Andrew Feliciano and Paul Luke at Voice Trax-West in Studio City, California.

Mona Awad on All's Well

In Shakespeare’s time, people talked about going to hear a play and going to see one in equal measure. So, what exactly do we hear when we hear one of Shakespeare’s plays? What information do we gather from its words, music, or sound effects? What if it has been adapted, updated, or translated? We ask Dr. Carla Della Gatta of Florida State University, co-editor of the new book "Shakespeare and Latinidad." Her study of Spanish-language or bilingual Shakespeare productions has led her to think a lot about the act of listening to a play. She talks to Barbara Bogaev about the ways a production of Shakespeare can challenge us to hear in new ways. Dr. Carla Della Gatta is an assistant professor of English at Florida State University. She is the author of "Latinx Shakespeares: Staging U.S. Intracultural Theater," which will be published in 2022, and co-editor of "Shakespeare and Latinidad," released by Edinburgh University Press in June 2021. She is a past recipient of a Folger fellowship. From the Shakespeare Unlimited podcast. Published July 20, 2021. © Folger Shakespeare Library. All rights reserved. This podcast episode, “You Have Heard Much,” was produced by Richard Paul. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. We had technical help from Andrew Feliciano and Paul Luke at Voice Trax West in Studio City, California. Leonor Fernandez edits a transcript of every Shakespeare Unlimited episode, available at folger.edu.

How We Hear Shakespeare's Plays, with Carla Della Gatta

The next time someone complains about a director changing or tampering with Shakespeare… we’ve got an answer for them. The first generation of theater artists after Shakespeare weren’t particularly concerned about performing Shakespeare's plays the way they appear in the First Folio. After the English Civil War, the Puritan-led government outlawed theater for eighteen years. When Charles II ascended to the throne, in the period we now call the Restoration, theater came back to life. With no new plays, producers like William Davenant and Thomas Killigrew turned to Shakespeare… but they made some pretty big changes to keep up with the times. Restoration-era Shakespeare featured new characters, changed scripts, and grand musical interludes inspired by court masques. Dr. Richard Schoch of Queen’s University Belfast lay out this history in his new book, "A Short History of Shakespeare in Performance." We spoke with Schoch about the theater in the Restoration and what we can learn from them after our own year without live theater. Schoch is interviewed by Barbara Bogaev. Richard Schoch is a professor in the School of Arts, English and Languages at Queen’s University Belfast. “A Short History of Shakespeare in Performance: From the Restoration to the Twenty-First Century” was published by Cambridge University Press in 2021. From the Shakespeare Unlimited podcast. Published July 6, 2021. © Folger Shakespeare Library. All rights reserved. This podcast episode, “Change It, Change It,” was produced by Richard Paul. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. We had technical help from Andrew Feliciano and Evan Marquart at Voice Trax West in Studio City, California, and Gareth Wood at The Sound Company in London. Leonor Fernandez edits a transcript of every episode, available at folger.edu.

The Restoration Reinvention of Shakespeare

In her play "Where We Belong," Mohegan director playwright, and performer Madeline Sayet recalls her 2015 journey to the UK to pursue the PhD in Shakespeare that she never ended up getting. The play, now available in a world premiere film adaptation produced by Woolly Mammoth Theater Company and the Folger, explains why she left the degree behind and explores what it means to belong in a complicated world. We talk to Sayet about growing up Mohegan in Connecticut and her evolving relationship with the Shakespeare today. Stream "Where We Belong," produced in association with Woolly Mammoth Theatre Company, on-demand through July 11. Madeline Sayet is a Mohegan theater-maker. She serves as the Executive Director of the Yale Indigenous Performing Arts Program (YIPAP) and Co-Artistic Director of Red Eagle Soaring: Native Youth Theatre. In addition to "Where We Belong," her plays include "Up and Down the River," "Antigone Or And Still She Must Rise Up," and "Daughters of Leda." This fall, she joins the faculty in the English Department at Arizona State University with the Arizona Center for Medieval and Renaissance Studies. From the Shakespeare Unlimited podcast. Published June 22, 2021. © Folger Shakespeare Library. All rights reserved. This podcast episode, “Farewell, Master, Farewell, Farewell,” was produced by Richard Paul. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. Leonor Fernandez edits our transcripts. We had technical help from Andrew Feliciano at Voice Trax West in Studio City, California.

Madeline Sayet on Where We Belong

What would we find out about you if we got to know your neighbors? What if we took a walk around the neighborhood where you live? That's the way that Geoffrey Marsh hopes to learn more about Shakespeare in his new book, Living with Shakespeare. Starting with a 1598 tax roll that lists Shakespeare's names among the residents of St. Helen's parish, the historian and director of the theater and performances collections of the Victoria and Albert Museum meets the people and explores the places that surrounded Shakespeare in the late 1590s. The people include lord mayors, an unusual concentration of doctors, and Shakespeare's saavy but combative colleague James Burbage. The places include St. Helen's Church, the Theatre, and a notable well about a hundred yard's from Shakespeare's house. Geoffrey Marsh is interviewed by Barbara Bogaev. Listen to Shakespeare Unlimited on Apple Podcasts, Google Podcasts, Spotify, Soundcloud, NPR One, or wherever you get your podcasts. Geoffrey Marsh is the director of the Theatre & Performing Arts department of the Victoria and Albert Museum. His new book, "Living with Shakespeare: Saint Helen’s Parish, 1593–1598," was published by Edinburgh University Press. It became available in the US on May 30. From the Shakespeare Unlimited podcast. Published May 8, 2021. ©Folger Shakespeare Library. All rights reserved. This podcast episode, “We’ll Wander Through the Streets and Note the Qualities of People,” was produced by Richard Paul. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. Leonor Fernandez edits a transcript of every episode, available at folger.edu. We had technical help from Andrew Feliciano and Paul Luke at Voice Trax West in Studio City, California.

Geoffrey Marsh on Shakespeare's Neighbors

When did the concept of race develop? How far should we look back to find the attitudes that bolster white supremacy? We ask Dr. Ambereen Dadabhoy, an assistant professor of literature at Harvey Mudd College, and the author of a chapter in the monumental new Cambridge Companion to Shakespeare and Race called “Barbarian Moors: Documenting Racial Formation in Early Modern England.” Dadabhoy takes us back to Shakespeare’s London—a more diverse city than you might have imagined—to look at the racial ideologies reflected in two plays: George Peele’s The Battle of Alcazar and William Shakespeare’s Othello. Plus, we learn more about race in medieval crusade and conversion romances, and get a sense of how Dadabhoy approaches issues of race in her Shakespeare classes. Dadabhoy is interviewed by Barbara Bogaev. Dr. Ambereen Dadabhoy is an assistant professor of literature at Harvey Mudd College in Claremont, California. Her chapter in the Cambridge Companion to Shakespeare and Race is called “Barbarian Moors: Documenting Racial Formation in Early Modern England.” The Cambridge Companion to Shakespeare and Race was published by Cambridge University Press in 2021. Dadabhoy held fellowships at the Folger in 2011 and 2016, and participated in a Folger NEH Summer Institute "Shakespeare from the Globe to the Global" in 2011. From the Shakespeare Unlimited podcast. Published May 25, 2021. © Folger Shakespeare Library. All rights reserved. This podcast episode, “In the Old Age, Black Was Not Counted Fair,” was produced by Richard Paul. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. Leonor Fernandez edits a transcript of every episode available on folger.edu. We had technical help from Andrew Feliciano at Voice Trax West in Studio City, California.

Race and Blackness in Elizabethan England

Over 400 years after Shakespeare’s sonnets were first published in 1609, what is left to learn? "All the Sonnets of Shakespeare," a new edition of the sonnets published in 2020, takes some bold steps to help us look at the poems with new eyes. The book, co-edited by Dr. Paul Edmondson and Sir Stanley Wells, dispenses with the Sonnets’ traditional numbering and arranges them in the order in which Edmondson and Wells believe they were written. It also includes nearly thirty additional sonnets drawn from the texts of Shakespeare’s plays. As a result, the collection is a fresh take on the Sonnets, Edmondson tells us, one that dispatches with the “Fair Youth” and “Dark Lady” narrative and helps us better understand Shakespeare as a writer and thinker. Edmondson is interviewed by Barbara Bogaev. The Rev. Dr. Paul Edmondson is the Head of Research and Knowledge and Director of the Stratford-upon-Avon Poetry Festival for the Shakespeare Birthplace Trust. All the Sonnets of Shakespeare is published by Cambridge University Press. From the Shakespeare Unlimited podcast. Published May 11, 2021. © Folger Shakespeare Library. All rights reserved. This podcast episode, “He Writes Brave Verses,” was produced by Richard Paul. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. Leonor Fernandez edits a transcript or every episode, available at folger.edu. We had technical help from Andrew Feliciano and Evan Marquart at Voice Trax West in Studio City, California.

All the Sonnets of Shakespeare

Frannie Shepherd-Bates founded Shakespeare in Prison in 2012. Nine years later, SIP is the signature community program of the Detroit Public Theatre, and has worked on a total of eight plays with a women’s ensemble at Huron Valley Correctional Facility and a men’s ensemble at Parnall Correctional Facility. When one of the members of the men’s ensemble suggested that SIP should find a way to share their work to make it easier for others to approach, he inspired a new project. Shakespeare in Prison is creating a new critical edition of "Richard III" that pairs Shakespeare’s text with the perspectives of incarcerated women who worked with the play over the course of 2016 and 2017. We speak with Frannie Shepherd-Bates about SIP and the book, "Richard III—In Prison: A Critical Edition," which she says offers readers a chance to approach the play from a place of “radical empathy.” Shepherd-Bates is interviewed by Barbara Bogaev. Frannie Shepherd-Bates is the Director of Shakespeare in Prison for the Detroit Public Theatre, where she’s also an actor, director, choreographer, and dialect coach. From the Shakespeare Unlimited podcast. Published April 27, 2021. © Folger Shakespeare Library. All rights reserved. This podcast episode, “Your Imprisonment Shall Not Be Long,” was produced by Richard Paul. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. Leonor Fernandez edits a transcript of every episode, available at folger.edu. We had technical help from Andrew Feliciano and Paul Luke at Voice Trax West in Studio City, California.

"Richard III" in Prison

The National Theatre’s new production of "Romeo and Juliet" was meant to premiere in the summer of 2020. But when the COVID-19 pandemic began, Simon Godwin, the production’s director, was tasked with turning it into a 90-minute film shot entirely in the National’s Littleton Theatre. Now, as the film approaches its United States premiere, Godwin sees "Romeo and Juliet" as a play uniquely suited to our pandemic moment. We spoke with him about how the pandemic affected the production logistically and thematically, as well as about learning how to direct a film and working with actors like Josh O’Connor, Jessie Buckley, and Tamsin Grieg. Godwin is interviewed by Barbara Bogaev. "Romeo and Juliet" airs in the United States at 9 pm EDT on April 23—Shakespeare’s birthday—on PBS Great Performances. Simon Godwin is the Artistic Director of the Shakespeare Theatre Company in Washington, DC. From the Shakespeare Unlimited podcast. Published Tuesday, April 13. © Folger Shakespeare Library. All rights reserved. This podcast episode, “Never Was a Story of More Woe,” was produced by Richard Paul. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. Leonor Fernandez edits a transcript of every episode, available at folger.edu. We had technical help from Andrew Feliciano and Paul Luke at Voice Trax West in Studio City, California.

Simon Godwin on "Romeo and Juliet"

Today, the texts of roughly three thousand plays from the great age of Elizabethan theater are lost to us. The plays that remain constitute only a sixth of all of the drama produced during that period. How do we make sense of a swiss-cheese history with more holes than cheese? The Lost Plays Database tries to fill in those holes. It’s an open-access forum for information about lost plays from England originally written and performed between 1570 and 1642. The database collects the little evidence that remains of the lost plays, like descriptions of performances, lists of titles, receipts, diaries, letters, or fragments of parts. David McInnis, an Associate Professor at Australia’s University of Melbourne and one of the founders of the Lost Plays Database, has collected some of his discoveries about lost plays, as well as the new theories they have spawned, in a new book, "Shakespeare and Lost Plays." We spoke with McInnis about a few favorite lost plays and how researching them is critical to understanding the works that have survived. David McInnis is interviewed by Barbara Bogaev. David McInnis is an Associate Professor in English and Theatre Studies, Culture and Communication at the University of Melbourne in Australia. His new book, "Shakespeare and Lost Plays," was published by Cambridge University Press in 2021. From the Shakespeare Unlimited podcast. Published March 30, 2021. © Folger Shakespeare Library. All rights reserved. This podcast episode, “Praising What is Lost,” was produced by Richard Paul. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. Leonor Fernandez edits our transcripts. We had technical help from Andrew Feliciano at Voice Trax West in Studio City, California.

Shakespeare and Lost Plays

He was in a shipwreck. He was at Jamestown. He was on the Mayflower. And maybe, just maybe, he’s in Shakespeare’s The Tempest. Documentary filmmaker Andrew Buckley’s ancestor, Stephen Hopkins, was the only passenger on the Mayflower who had previously been to the Americas. Eleven years before the Mayflower landed in what is now Massachusetts, Hopkins sailed aboard the Sea Venture, a ship bound for Jamestown that was blown off-course by a hurricane and wrecked in Bermuda. Among Hopkins’s fellow passengers on the Sea Venture was William Strachey, a poet and playwright whose account of the ill-fated voyage may have inspired Shakespeare’s "The Tempest." Buckley’s new documentary, "Stephano: The True Story of Shakespeare’s Shipwreck," traces Hopkins’s travels in England and the Americas and links him to The Tempest’s drunken, mutinous butler, Stephano. We talk to Buckley about the documentary, walking in his great-grandfather’s footsteps, and what the story reveals about the early colonization of North America. Buckley is interviewed by Barbara Bogaev. Andrew Buckley is the creator and host of the public media series Hit and Run History. "Stephano: The True Story of Shakespeare’s Shipwreck," premiered on Rhode Island PBS in January 2021. Learn about broadcasts, screenings, and video-on-demand opportunities to watch the film at hitandrunhistory.com. From the Shakespeare Unlimited podcast. Published March 16, 2021. © Folger Shakespeare Library. All rights reserved. This podcast episode, “How Now, Stephano!” was produced by Richard Paul. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer, with help from Leonor Fernandez. We had technical help from Andrew Feliciano and Paul Luke at Voice Trax West in Studio City, California.

Stephen Hopkins and "Stephano"

For generations, artists have been shaping and changing Shakespeare to fit their times. The best adaptations add specific textures of place and culture, or a fluidity of language that can take centuries-old work and make it brand new. Seattle Shakespeare Company is presenting one of those works: a Salvadoran-American adaptation of "Hamlet" called "house of sueños," by actor and playwright Meme García. In "house of sueños," sisters Rina and Amelia prepare to celebrate Mom’s marriage to their new Stepdad. But when Amelia tells her sister of the mysterious voice and shadowy figure she saw in the attic last night, it becomes clear that not all in this house is as it seems. García’s play is being released as a special five-episode series from the Seattle Shakespeare Company’s Rough Magic podcast. You can listen to it through March 17 wherever you get your podcasts or on the company’s website, https://www.seattleshakespeare.org/houseofsuenos/. We talked to García about adapting Shakespeare, mental illness in Hamlet and in their own experiences, and how they crafted the language of their play. García is interviewed by Barbara Bogaev. Meme García is a Fulbright Scholar with a Master’s degree in Classical Acting from the London Academy of Music and Dramatic Art. As an actor, they have performed with the Oregon Shakespeare Festival, upstart crow collective, and Seattle Shakespeare Company, among other theaters. From the Shakespeare Unlimited podcast. Published March 2, 2021. © Folger Shakespeare Library. All rights reserved. This podcast episode, “What Dreams May Come,” was produced by Richard Paul. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer, with help from Leonor Fernandez. We had technical help from Andrew Feliciano and Evan Marquart at Voice Trax West in Studio City, California.

Meme García on "house of sueños"

Home to the world's largest collection of Shakespeare materials. Advancing knowledge and the arts. Discover it all at www.folger.edu. Shakespeare turns up in the most interesting places—not just literature and the stage, but science and social history as well. Our "Shakespeare Unlimited" podcast explores the fascinating and varied connections between Shakespeare, his works, and the world around us.

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Folger Shakespeare Library: Shakespeare Unlimited

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