Folger Shakespeare Library: Shakespeare Unlimited

Orson Welles is perhaps most famous for his panic-inducing radio adaptation of The War of the Worlds and the award-winning film Citizen Kane. For his entire life though, Welles's obsession was Shakespeare. He produced and starred in Shakespeare plays on Broadway and directed and starred in multiple versions of Shakespeare's work on film, including Chimes at Midnight. Our guest is Michael Anderegg, the author of Orson Welles, Shakespeare, and Popular Culture. From the Shakespeare Unlimited podcast series. Published January 23, 2018. © Folger Shakespeare Library. All rights reserved. This podcast episode, “A Rescue, a Rescue!” was produced by Richard Paul. Garland Scott is the associate producer.

Getting audiences interested in Romeo and Juliet might be easy. But what about those more unfamiliar Shakespeare plays? Here’s an insider’s take on marketing and promotion at America’s Shakespeare festivals and theaters. Our guests are Katie Perkowski, Director of Marketing at the Alabama Shakespeare Festival in Montgomery, Alabama; Jeff Fickes, who is Communications Director at the Seattle Shakespeare Company; and Emma Corey, Director of Marketing and Communications at the Hudson Valley Shakespeare Festival in Garrison, New York. All three are part of the Folger’s Theater Partnership Program. They are interviewed by Barbara Bogaev. From the Shakespeare Unlimited podcast series. Published January 9, 2018. © Folger Shakespeare Library. All rights reserved. This podcast episode, “There is the Playhouse Now, There Must You Sit” was produced by Richard Paul. Garland Scott is the associate producer. For more information, show credits, and transcript: https://www.folger.edu/shakespeare-unlimited/marketing

Sixteenth-century theater companies used a variety of physical and sensual staging effects in their productions to create a full-body experience for playgoers: fireworks hissing and shooting across the stage, fake blood, fake body parts, the smell of blood and death, and more. Farah Karim-Cooper and Tiffany Stern are the editors of a 2013 collection of essays, Shakespeare’s Theatre and the Effects of Performance, written by themselves and nine other theater historians. Tiffany Stern is a Professor of Shakespeare and Early Modern Drama with the University of Birmingham’s Shakespeare Institute at Stratford-upon-Avon. Farah Karim-Cooper is Head of Higher Education and Research at Shakespeare’s Globe in London. Tiffany and Farah are interviewed by Barbara Bogaev. From the Shakespeare Unlimited podcast series. Published December 13, 2017. © Folger Shakespeare Library. All rights reserved. This podcast episode, Awake Your Senses, was produced by Richard Paul. Garland Scott is the associate producer. It was edited by Gail Kern Paster and Esther Ferington. Esther French is the web producer. We had production help from Cathy Devlin and Dom Boucher at the Sound Company in London and Paul Luke and Andrew Feliciano at at Voice Trax West in Studio City, California.

In 2015, on a state visit to Great Britain, Chinese Premier Xi Jinping called 17th-century Chinese playwright Tang Xianzu the “Shakespeare of the East,” and ever since, the Ministry of Culture for the People’s Republic has made a concerted push to elevate Tang to the status of Shakespeare. This episode explores just who Tang Xianzu was, and – more broadly – looks at what role Shakespeare plays in modern-day China. Our guests, Wei Feng and Alexa Alice Joubin, study the intersection of China and Shakespeare. They are interviewed by Barbara Bogaev. From the Shakespeare Unlimited podcast series. Published November 29, 2017. © Folger Shakespeare Library. All rights reserved. This podcast episode, "I See My Reputation is at Stake," was produced by Richard Paul. Garland Scott is the associate producer. It was edited by Gail Kern Paster and Esther Ferington. Esther French is the web producer. We’d like to thank Dr. Ruru Li, Professor of Chinese Theatre Studies at the University of Leeds in Great Britain; writer and journalist Andrew Dickson; Liz Thompson, Philippa Harland and Shihui Weng at the Royal Shakespeare Company; and Paul Hollman at The Dubroom Studio in West Hollywood, California.

Shakespeare and his plays crop up in science fiction in a number of surprising places, from classic stories like Isaac Asimov’s “The Immortal Bard” to TV shows like Star Trek and Doctor Who. And it’s not just these more recent works: a production of Macbeth figures in Mary Shelley’s post-apocalyptic novel The Last Man, written in the 1820s. Our guest on this episode is Sarah Annes Brown, a professor of English Literature at Anglia Ruskin University in Cambridge, England, and co-director of the university’s Centre for Science Fiction and Fantasy. She’s writing a book that looks at representations of how Shakespeare’s plays are performed in the future. Sarah Brown is interviewed by Barbara Bogaev. From the Shakespeare Unlimited podcast series. Published November 14, 2017. © Folger Shakespeare Library. All rights reserved. This episode, "I Shall Tell You a Pretty Tale," was produced by Richard Paul. Garland Scott is the associate producer. It was edited by Gail Kern Paster and Esther Ferington. Esther French is the web producer. We had help from Andrew Feliciano and Paul Luke at Voice Trax West in Studio City, California and Roger Chatterton at Kite Recording Studio in Cambridge, England.

The author of the Patrick Melrose novels talks about adapting the story of one of Shakespeare’s most dysfunctional families for the Hogarth Shakespeare series. In Edward St. Aubyn’s version of “King Lear,” called “Dunbar,” Lear becomes a media mogul whose evil daughters have locked him away in a psychiatric hospital. Edward St. Aubyn is interviewed by Barbara Bogaev. From the Shakespeare Unlimited podcast series. Published November 1, 2017. © Folger Shakespeare Library. All rights reserved. This episode, “Th’ Untented Woundings of a Father’s Curse,” was produced by Richard Paul. Garland Scott is the associate producer. It was edited by Gail Kern Paster and Esther Ferington. Esther French is the web producer. We had help from Andrew Feliciano and Evan Marquardt at Voice Trax West in Studio City, California and Paul Reuest at Argot Studios in New York.

Even if you’re not a Shakespeare scholar, there are things you have learned about Shakespeare and his plays throughout your life – that it’s bad luck to say the name of “the Scottish play” or that Shakespeare hated his wife. Are any of these stories true? And whether they are or not, what do they tell us about previous eras, and our own? (This episode was first released on April 22, 2015.) From the Shakespeare Unlimited podcast series. © Folger Shakespeare Library. All rights reserved. Emma Smith, a professor of English at Oxford University, is co-author, along with Laurie Maguire, of "30 Great Myths About Shakespeare." She was interviewed by Rebecca Sheir. This episode, “Thou Dost But Say 'Tis So”, was produced by Richard Pau.; Garland Scott is the associate producer. It was edited by Gail Kern Paster and Esther Ferington. Esther French is the web producer. We had help from Nick Moorbath at Evolution Studios in Oxford, and Jonathan Charry at public radio station WAMU.

Two literary scholars discuss Shakespeare’s influence on the politics, history, and literary culture of East Africa. Edward Wilson-Lee, the son of white wildlife conservationists, spent his childhood in Kenya and now teaches Shakespeare at the University of Cambridge in England. Over the past few years he has spent extended periods back in Kenya, as well as in Tanzania, Uganda, Ethiopia, and South Sudan, researching his book, Shakespeare in Swahililand. Ngũgĩ Wa Thiong’o, the renowned Kenyan playwright, novelist, dissident, and social activist, grew up in Kenya when it was still a British colony and is now a Distinguished Professor of Comparative Literature at the University of California, Irvine. His most recent work is the memoir Birth of a Dream Weaver. Ngũgĩ and Edward were interviewed by Barbara Bogaev. From the Shakespeare Unlimited podcast series. Published October 3, 2017. © Folger Shakespeare Library. All rights reserved. This episode, “The Language That I Have Lived In,” was produced by Richard Paul. Garland Scott is the associate producer. It was edited by Gail Kern Paster and Esther Ferington. Esther French is the web producer. We had help from Barbara Caldwell at the University of California  Irvine, Evan Marquardt at Voice Trax West in Studio City, California, and Roger Chatterton at Kite Recording Studio in Cambridge, England.

How do actors breathe life into Shakespeare’s texts? How do they take language that’s centuries old and make it sound so real and immediate? Barry Edelstein, the Erna Finci Viterbi Artistic Director at The Old Globe in San Diego, is one of the nation’s most experienced Shakespeare directors. Join him for an abbreviated version of Thinking Shakespeare Live!, his master class for acting that pulls back the curtain on the rehearsal room. From the Shakespeare Unlimited podcast series. Published September 19, 2017. © Folger Shakespeare Library. All rights reserved. This episode Speak The Speech, I Pray You, As I Pronounced It was produced by Richard Paul. Garland Scott is the associate producer. It was edited by Gail Kern Paster and Esther Ferington. Esther French is the web producer. We had help from Justin Waldman, Associate Artistic Director at The Old Globe, and from Andrew Feliciano and Evan Marquardt at Voice Trax West in Studio City, California, and Kurt Kohnen at KPBS in San Diego.

In his one-man show "Cry Havoc!" actor Stephan Wolfert, a US Army veteran, draws together lines in Shakespeare’s plays spoken by soldiers and former soldiers—including Macbeth, Othello, and Richard III. He puts those words to the task of explaining the toll that soldiering and war can take on the psyches of the men and women who volunteer for military duty. He is interviewed by Barbara Bogaev. From the Shakespeare Unlimited podcast series. Published September 5, 2017. © Folger Shakespeare Library. All rights reserved. This episode, “To the Battle Came He,” was produced by Richard Paul. Garland Scott is the associate producer. It was edited by Gail Kern Paster and Esther Ferington. Esther French is the web producer. We had help from Beth Emelson, Associate Artistic Producer of Folger Theatre; Eric Tucker, Artistic Director of Bedlam; Melissa Kuypers at NPR-West in Culver City, California; and from Ray Cruz at Hawaii Public Radio.