Shakespeare & Beyond

Ellen McLaughlin writes about translating ‘Pericles’ for the Oregon Shakespeare Festival and what she learned about this less frequently produced play.

Lopez looks at which early modern plays were considered better than others (and why) and how the works selected to represent the era might change.

From her work translating ‘Macbeth’ for the Oregon Shakespeare Festival Play on! project, Migdalia Cruz shares reflections about ambitions, loyalty, the witches, and the porter scene.

Taffety Punk presents Henry VI Part 3 for its 2018 Bootleg Shakespeare performance, in which actors perform after only one day of rehearsal.

“Shakespeare must be singled out by one who wishes to learn the full powers of the English language,” Thomas Jefferson wrote.

The playwright and dramaturg who worked on translating ‘The Merchant of Venice’ share insights into the play and the translation process.

This excerpt from Ayanna Thompson’s book explores Peter Sellars’s “uniquely American take on William Shakespeare” and his 1980 production of King Lear.

We revisit an essay about Shakespeare and Shaw from the 1994 Folger exhibition “Roasting the Swan of Avon: Shakespeare’s Redoubtable Enemies and Dubious Friends.”

Playwright Caridad Svich writes how ‘Henry VIII’ oscillates between characters’ desire for power, on the one hand, and forgiveness, on the other.

Stephen Greenblatt discusses and reads short excerpts from his new book, “Tyrant,” which looks at how Shakespeare portrayed political leaders in his plays.

Timon of Athens was the pilot play for Oregon Shakespeare Festival’s Play on! project. Kenneth Cavander reflects on the translation process.

Forty-five years ago on Shakespeare’s birthday, the Folger announced that Laetitia Yeandle, then curator of manuscripts, had “rediscovered” a long-lost diary entry marking the first recorded purchase of Shakespeare’s first publication, Venus and Adonis.