Shakespeare & Beyond

A YA fantasy novelist shares how she channels her acting passions for Shakespeare and stage combat into her debut book, That Self-Same Metal.

Marking the 400th anniversary of the First Folio, Austin Tichenor compares The Book of Will, Lauren Gunderson’s popular play about the Folio’s creation, with new research shared by Chris Laoutaris in Shakespeare’s Book.

In 1536 Henry VIII forbade killing partridges to ensure populations could support falconry. Shakespeare refers to the partridge twice, both as examples of slaughtered prey.

Read our round-up of performances at Shakespeare theaters across the United States this April, May, and June.

The Receipt Book of Margaret Baker, compiled in 1675, contains a recipe for a memory-potion called “Confect of Coriander Seed.”

Shakespeare’s play Richard III turns real people into fictional villains, as does a new movie about the search for Richard III’s remains, writes Austin Tichenor.

Playwrights Malik Work and Karen Ann Daniels share more the creation of Our Verse in Time to Come and spring boarding off Shakespeare.

White People in Shakespeare examines what part Shakespeare played in the construction of a “white people” and how his work has been enlisted to define and bolster a white cultural and racial identity.

We ask theater artists across the country to tell us why it isn’t.

According to Renaissance folklore, robins were kind and adored humans so deeply that if one came upon a person who had passed away, it would place flowers on the body.

Austin Tichenor writes about the problematic protagonists of the Oscar-nominated films Elvis and Tár, who evoke Shakespeare’s Richard III as they seek to control their respective narratives.