Is it possible to revere the long illustrious history of Shakespeare in the Park, which includes fine Black actors such as James Earl Jones, while also suggesting it may no longer serve a changing city?
Rather than sticking to a literalistic depiction of the woods of Fairyland, Robert Carsen sets his adaptation of A Midsummer Night’s Dream in a more symbolic land of beds.
The book Botanical Shakespeare, by historian Gerit Quealy with illustrations by Sumié Hasegawa-Collins, compiles the roughly 175 mentions of plants in Shakespeare’s plays.
When Ira Aldridge took the London stage in 1825, he became the first black actor to portray Shakespeare’s Othello.
A group of wall paintings in Stratford-upon-Avon’s Guild Chapel should have been destroyed in 1563, but John Shakespeare had them covered in limewash instead, preserving them for centuries.
Reports last month suggested that the skull of playwright William Shakespeare was no longer in his grave.
Potions, poisons, and symbolic herbs are frequent plot devices in the plays of William Shakespeare, and reflect the medical knowledge of his time.
The thunderstorm in the third act of Shakespeare’s King Lear will rumble ominously in the Bristol Old Vic’s production of the play this summer thanks to 18th-century sound effects.
When the Globe Theatre along London’s River Thames opened in 1599, a flag depicting Hercules hoisting a globe announced the opening of William Shakespeare’s Julius Caesar.
One of the first museums created for the enjoyment of the middle class was the Shakespeare Gallery, opened in 1789 by John Boydell.
“I know a bank where the wild thyme blows,” William Shakespeare wrote in a stanza from A Midsummer Night’s Dream.
Not only did Derrida do poorly on his Shakespeare essay: he also went on flunk his university entrance exams, which he had to take three times.