Folger Shakespeare Library: Shakespeare Unlimited

Can you love Shakespeare and be an antiracist? Farah Karim-Cooper's new book, The Great White Bard, explores the language of race and difference in plays such as Antony and Cleopatra, Titus Andronicus, and The Tempest. Karim-Cooper also looks at the ways Shakespeare’s work became integral to Britain’s imperial project, and its sense of cultural superiority. But for all this, Karim-Cooper is an unapologetic Shakespeare fan. It's right there in the subtitle of her book: "How to Love Shakespeare While Talking about Race." Far from casting Shakespeare out of the classroom or playhouse, Karim-Cooper shows new ways to appreciate him. And, by drawing connections between the plays and current events, she offers an eyes-wide-open tour of Shakespeare’s continued relevance. Karim-Cooper talks with Barbara Bogaev about the role of race in Titus Andronicus, Othello, Romeo and Juliet, and more. Listen to Shakespeare Unlimited on Apple Podcasts, Google Podcasts, Spotify, Soundcloud, or wherever you get your podcasts. Far

A Palestinian production of Hamlet in the West Bank is the backdrop for Isabella Hammad’s new novel, Enter Ghost. Hammad’s first novel, the beautiful and sprawling The Parisian, won international acclaim in 2019. Granta included Hammad in its decennial “Best of Young British Novelists” list earlier this year. The narrator of Hammad’s new novel is Sonia, a British Palestinian actress who visits her sister in Israel to recover from the end of an affair. Despite wanting to take a break from the stage, Sonia gets roped into playing Gertrude in a production of Hamlet being mounted in the West Bank. Sonia’s fellow actors read Hamlet as an allegory for the Palestinian struggle. While Sonia resists their interpretation, she uncovers ghosts of her own—repressed memories, a family history of resistance, and a newly discovered commitment to the Palestinian cause. Despite the novel’s contemporary setting and political themes, Hammad never lets her characters’ trenchant views overwhelm the complex beauty of her storyte

Mat Osman's new novel, The Ghost Theatre, takes us flying over the rooftops of Elizabethan London and down into the gritty lives of its child actors. A historical novel set in a vibrant and sensuously reimagined Elizabethan London, the book's main character is Shay, the daughter of a clairvoyant who lives among a community who worship birds. When Shay meets a charming young actor named Nonesuch, she is drawn into the world of the children’s theater—that is, a theater whose actors and crew are all made up of young people, performing for an audience made of primarily of adults. Shay falls in love with performance and joins an immersive guerrilla theater troupe that gets tangled up in a violent political power struggle. Osman is more famous as the bass player in the British rock band Suede. To get the texture of Elizabethan life right in The Ghost Theatre, Osman researched as much as he could at the margins of history. Osman tells Barbara Bogaev about how he explored his young actors' lives, invented an early m

We could listen to Adrian Lester talk about acting all day… but he's a busy man, so we’ll settle for this 37 minute episode. The actor joins us to discuss some of his most famous performances, including Rosalind in Cheek by Jowl’s acclaimed 1991 all-male As You Like It, Hamlet with Peter Brook, and Henry V and Othello with Nicholas Hytner. Plus, Lester takes us back to his childhood in Birmingham and tells us about his patronage of the Everything to Everybody project and the Birmingham Shakespeare Library. Lester is interviewed by Barbara Bogaev. Visit our website, folger.edu/unlimited, to learn more about Everything to Everybody and see video of Lester's performance in "As You Like It." From our Shakespeare Unlimited podcast. Published July 4, 2023. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. 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 h

On today’s episode, the Royal Shakespeare Company’s former Artistic Director takes a look back at four decades of staging Shakespeare. Greg Doran’s career as a Shakespearean director began in the late 1970s, when he was a teenager. By the time he stepped down as the Artistic Director of the Royal Shakespeare Company earlier this year, Doran had directed every play in the First Folio, capping off the feat with an acclaimed production of Cymbeline. In between, Doran helmed era-defining productions of Shakespeare’s plays and worked with actors such as Judi Dench, David Tennant, Patrick Stewart, and the late Antony Sher, to whom Doran was married. Doran’s new memoir, My Shakespeare, tells the story of his life through the plays he has directed. It’s a portrait of an artist at work, shot through with commentary about the plays themselves and insights about working with actors. It’s also an intimate account of Doran’s deep artistic partnership with Tony Sher. Greg Doran is interviewed by Barbara Bogaev. My Shake

Start with Shakespeare’s "star-crossed" lovers and fold in the songs of Swedish pop hitmaker Max Martin… what do you get? The hit Broadway musical & Juliet, currently running at the Stephen Sondheim Theatre in New York and nominated for nine Tony Awards, including Best Musical and Best Book of a Musical. The show imagines what would happen if Juliet woke up after Romeo’s death and decided not to end it all. Instead, she goes on a trip to Paris with some new friends, including Shakespeare and Anne Hathaway. Juliet discovers that Romeo isn’t really dead… but he’s also not exactly boyfriend material. And every so often, the characters break into song with Max Martin’s hits for Britney Spears, Backstreet Boys, and Katy Perry. The writer behind this mash-up is David West Read. He previously served as writer and executive producer of the comedy series Schitt’s Creek, and he created The Big Door Prize and the forthcoming Brother from Another Mother, both running on AppleTV+. Host Barbara Bogaev talks with Read abo

Robert O’Hara joins us to talk about directing last year’s Shakespeare in the Park production of Richard III, starring Danai Gurira of Marvel's "Black Panther." He tells us about gathering a diverse cast of actors with disabilities, wanting to “trigger” his audiences, and what it’s like to get a call about directing Shakespeare in the Park (spoiler: it’s a whirlwind). Robert O’Hara is interviewed by Barbara Bogaev. A film of Richard III premiered on PBS’s Great Performances on Friday, May 19, and is streaming now on the PBS App and at pbs.org/gperf. Robert O’Hara is a two-time Obie Award and two-time NAACP Award Winner whose work has been seen around the country. He was nominated for a Tony Award for his direction of Jeremy O. Harris’s Slave Play. From our Shakespeare Unlimited podcast. Published May 23, 2023. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web produce

2023 marks the 400th anniversary of the publishing of the First Folio, the first collected edition of Shakespeare's plays. Eighteen of those plays, including Macbeth, Twelfth Night, and The Tempest, had never been published before they appeared in the First Folio, which means that without it, they might have been lost. But how did the First Folio come to be? It turns out that this book's story has enough twists to fill out a five-act play. It has its own heroes, villains, and political subtext. And the success of the Folio itself was far from a sure thing. Dr. Chris Laoutaris's new book, Shakespeare’s Book: The Story Behind the First Folio and the Making of Shakespeare, re-examines everything we thought we knew about the publication of the First Folio, and uncovers some new information in the archives. He is interviewed by Barbara Bogaev. Chris Laoutaris is a biographer, historian, poet, Shakespeare scholar, and Associate Professor at The Shakespeare Institute in Stratford-Upon-Avon, England. He is the Co-F

Lolita Chakrabarti is the playwright of Red Velvet, about 19th-century Black actor Ira Aldridge, and has adapted Italo Calvino's Invisible Cities and Yann Martel's The Life of Pi for the stage. Now, she has adapted Maggie O'Farrell's bestselling novel Hamnet for the stage. Hamnet is currently playing at the Royal Shakespeare Company's Swan Theatre. The play tells the story of a young Agnes Hathaway and William Shakespeare as they fall in love and start a family, and the psychological damage caused by the death of their son, Hamnet. Barbara Bogaev talks with Chakrabarti about adapting O'Farrell's story, how she portrays the Shakespeare family, and her earlier play Red Velvet. Hamnet is onstage at the Royal Shakespeare Company’s newly restored Swan Theatre until June 17 and will open at London’s Garrick Theatre on September 30. From the Folger’s Shakespeare Unlimited podcast. Published April 25, 2023. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott

Hamlet has been adapted, retold, and reinvented countless ways. But you’ve never seen a version of Hamlet quite like James Ijames’s Fat Ham, which won the 2022 Pulitzer Prize for Drama and is now playing on Broadway. In Fat Ham, Ijames takes the outline of Hamlet and transposes it to the present day American South. Instead of “funeral baked meats,” Fat Ham serves up barbecue—expertly cooked by Rev, the Claudius character. The queer, Black Hamlet character is named Juicy. He isn’t on break from Wittenberg; he’s taking an online degree in human resources. After being visited by his father’s ghost, Juicy believes that his uncle murdered his father in order to marry his mother. And, just like Hamlet, Juicy has to decide what to do about it. But the way Ijames transforms Shakespeare’s premise makes Fat Ham into much more than a parody or an adaptation. James Ijames is interviewed by Barbara Bogaev. James Ijames is the co-artistic director of the Wilma Theater in Philadelphia and the author of the acclaimed plays

In her book The Wife of Bath: A Biography, Marion Turner reacquaints us with a remarkable, vital character: Alison, Wife of Bath, the most famous fictional pilgrim in Geoffrey Chaucer’s Canterbury Tales. Turner puts Alison into her historical context in 14th- and 15th-century England and the literary tradition, arguing that the Wife of Bath is literature’s first “ordinary woman,” neither a paragon of virtue nor a vicious caricature. Instead, she’s funny, sexual, opinionated, competent—a recognizably human character. That’s all the more remarkable for her having been written by a man. Turner’s biography goes on to trace the afterlives of the Wife of Bath through reinterpretations and reworkings of the character. That includes Voltaire’s version, James Joyce’s Molly Blum, Pier Paolo Pasolini’s film adaptation, a recent play by Zadie Smith, and her influence on Shakespeare. Turner is interviewed by Barbara Bogaev. Marion Turner is a professor of English at the University of Oxford. She is also the author of Cha

You might recognize Patrick Page from films like Spirited, or shows like The Gilded Age, or from his Broadway roles as Hades in Hadestown for which he was nominated for a Tony. But Page is also an accomplished Shakespearean, with a long relationship with Washington, DC’s Shakespeare Theatre Company, where he’s played Prospero, Macbeth, Coriolanus, Iago, and now King Lear. Page talks with Barbara Bogaev about getting inside Lear’s head and his long fascination with Shakespeare’s villains. King Lear, starring Page and directed by Simon Godwin, is onstage at Shakespeare Theatre Company through April 16. From the Shakespeare Unlimited podcast. Published March 14, 2023. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. 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 Ellen Rolfes in Washington, D.C. and Ev

The Folger: Hey ChatGPT! Could you write a six line Shakespearean monologue in iambic pentameter about an interview with Jennifer Black, Laura Turchi, and John Ladd about the challenges and opportunities that ChatGPT presents in the English classroom? Thank you! ChatGPT: Of course, I'd be happy to write a Shakespearean monologue on that topic! Here it is: Oh, how ChatGPT may bring the bard to light, And in the English classroom, set things right. With Jennifer, Laura, John to lead the way, They'll show the world what ChatGPT can convey. For in its code, a wealth of knowledge lies, And students learn, to their great teachers' surprise. Based on that monologue, Open AI's ChatGPT tool obviously believes that it can be a positive addition to the classroom. Should you share its optimistic outlook? Our host Barbara Bogaev talks with Jennifer Black of Boise State University, Laura Turchi of Arizona State University, and John Ladd of Washington and Jefferson College about the challenges and opportunities that arti

We can’t seem to get enough of the Tudor dynasty and its soap-opera twists. But in her book Tudor England: A History, Lucy Wooding argues that to really know the Tudors you must look past the famous names and racy plotlines. While Wooding visits the period’s kings and queens—was Henry VIII the lusty man we imagine? How “bloody” was Mary? What about Henry VII?—she also leaves the court to roam England’s streets and fields. Wooding’s book is a beautifully written account of period's society, culture, and beliefs that the Times of London has called a “classic in the making.” She discusses the Tudors and our major misconceptions about them with host Barbara Bogaev. Lucy Wooding is the Langford Fellow and Tutor in History at Lincoln College, Oxford University. Her book Tudor England: A History is out now from Yale University Press. From the Shakespeare Unlimited podcast. Published January 31, 2023. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is th

Theater-maker Debra Ann Byrd has played Othello in three different productions: first, in a staged reading in 2013, then again in 2015 and 2019. Each time, she learned a little bit more about Othello, and about herself. In her one-woman show Becoming Othello: A Black Girl’s Journey, Byrd recounts her experience discovering herself while playing Shakespeare’s tragic hero. The show reaches back to her childhood in Spanish Harlem, her mother’s tragic death, and her own struggles with depression. She also tells the story of how she was inspired to start the Harlem Shakespeare Festival after seeing how few opportunities there were for actors of color to work in classical theater. Byrd discusses her journey, and the play it inspired, with host Barbara Bogaev. Becoming Othello: A Black Girl’s Journey is onstage at Seattle Shakespeare Company through January 29, 2023. Debra Ann Byrd is the founder of the Harlem Shakespeare Festival and Producing Artistic Director of Southwest Shakespeare Company. She is a former Fo

In his new book, Black Shakespeare: Reading and Misreading Race, Dr. Ian Smith of Lafayette College argues that Shakespeare’s plays engage with questions of race and early modern encounters between Africans and Europeans in ways that the discipline of Shakespeare studies have been hesitant to acknowledge. Ian Smith returns to the podcast and talks with Barbara Bogaev about how we can develop our “racial literacy” and read race in plays like Othello, The Merchant of Venice, and Hamlet. Ian Smith's Black Shakespeare: Reading and Misreading Race is out now from Cambridge University Press. From the Shakespeare Unlimited podcast. Published December 20, 2022. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. 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 Jimmy Dixon at 64 Sound in Los Angeles, and Jenna M

In Talene Monahon’s new play Jane Anger, a narcissistic William Shakespeare is wrestling with writers’ block while working on King Lear. When Will’s former flame Jane Anger shows up, he knows she can help him finish the play. But Jane wants something in return. She needs Will’s help to publish a pamphlet she’s written that calls out sexist male playwrights for the wrongs they’ve done to women everywhere. That pamphlet is a real historical document: “Jane Anger: Her Protection for Women,” published in 1589. The true identity of the historical Jane Anger is still unknown. Monahon has taken that historical blank page and written on it a revenge farce that’s savagely funny, comically violent, and seriously outraged. It manages to take in present-day concerns like #MeToo and the pandemic, and makes room for ecstatically silly bathroom humor. Jane Anger is onstage through January 8 at the Shakespeare Theatre Company in Washington, DC. We talk to Monahon, who also plays Anne Hathaway in the show, about how she dis

You may not have heard of Sarah Siddons, but if you’ve seen a production of Macbeth recently, you may have experienced her influence. In the late 18th century, Siddons became one of the first celebrity actors, for her performances in roles including Queen Katherine in Henry VIII, Constance in King John, Volumnia in Coriolanus, and, of course, Lady Macbeth in Macbeth. Her brother and frequent co-star John Philip Kemble became the first stage “director” in our sense of the word, even though there was no such title in the 18th-century theater. Both of their careers benefited from Shakespeare’s rising critical and popular reputation in the 18th century. Barbara Bogaev talks to scholar Fiona Ritchie, whose new book, Shakespeare in the Theatre: Sarah Siddons and John Philip Kemble, details their rise to fame. Ritchie is an Associate Professor of English at McGill University. Shakespeare in the Theatre: Sarah Siddons and John Philip Kemble is out now from Arden Shakespeare. From the Shakespeare Unlimited podcas

Billy Collins is one of America’s most well-known poets. He served as U.S. Poet Laureate from 2001 to 2003. His poetry collections frequently show up on bestseller lists, and his popular readings—three of which we’ve been lucky to host at the Folger—are warm and laughter-filled affairs. In a wide-ranging interview, Collins talks about humanizing Shakespeare and other literary titans, delves into his own work and inspirations, and reads from his newest collection, Musical Tables. He is interviewed by Barbara Bogaev. Billy Collins's new collection, Musical Tables, is available now from Random House. From the Shakespeare Unlimited podcast. Published November 22, 2022. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. 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 Evermore Sound in Orlando and Andrew Fe

A director makes a play add up to more than the sum of its parts. That's something Adrian Noble knows as well as anyone. Noble has directed numerous productions of Shakespeare’s plays, including Kenneth Branagh’s breakout performance as Henry V in 1984 at the Royal Shakespeare Company. He served as artistic director of the RSC from 1991 to 2002, and directed musicals like Chitty Chitty Bang Bang on London’s West End as well as operas like Verdi’s Macbeth, Don Carlo, and Otello. Now, Noble has written a new book, How to Direct Shakespeare, a no-nonsense guide for directors confronting the challenge of staging Shakespeare’s texts. Noble writes that Shakespeare presents unique challenges for actors and directors — but that his plays also serve as excellent preparation for all other directing work. For those of us who aren’t directors, Noble’s book is full of things we can look out for the next time we read one of Shakespeare’s plays or watch it onstage. Adrian Noble is interviewed by Barbara Bogaev. Adrian No