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Pete Kirwan

@drpetekirwan.bsky.social
1.3K followers 400 following 150 posts

Performance, theatre reviewing, early modern drama, film watching, editing, cat wrangling, immigrating. General Editor at Shakespeare Bulletin; professing at Mary Baldwin Uni. He/him

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Pete Kirwan @drpetekirwan.bsky.social · 15m
The boat sequence in Willy Wonka and the Chocolate Factory; the room of screaming heads in Return to Oz; and a really visceral episode of the Transformers cartoon where they visited the ship where dead autobots were stored.
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Faculty of English, University of Oxford @engfac.bsky.social · 21/09/2026
Next up in our #Shakespeare webinar series is RICHARD III. Emma Smith @oldfortunatus.bsky.social will be joined by Susan L. Anderson (Mary Baldwin University) to discuss the new Oxford World's Classics edition of the play. 5 October | 6-7.15pm (BST) This is a free public event & all are welcome!
shakespeare-webinar-richard-iii.eventbrite.co.uk
English Faculty/OWC Shakespeare Webinar: Richard III
In this free webinar, Professor Emma Smith will be discussing the new edition of Richard III from Oxford World's Classics.
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Shakespeare Bulletin @shaxbull.bsky.social · 13/09/2026
Anna Naumenko reviews Donmar Warehouse’s 2025 production of Macbeth, directed by Max Webster 🎭: www.macbethdonmarcinema.com/gallery/ 📰: muse.jhu.edu/article/998122 📷: Marc Brenner
The focus of the photo is David Tennant, a pale-skinned man with dark brown hair slicked back, a beard, and a mustache. He is wearing black pants, a black suit jacket, and a simple gray shirt beneath it. His hands are on his hips and he is staring out. Behind him and out of focus is the figure of Cush Jumbo, a woman in a long, white, satin dress holding a candle in her outstretched hands and moving through the dark. Below the image is the text “Webster's filmed version was logistically unable to offer the same rich, immersive binaural experience as in the live production. However, the cinema's 5.1 Dolby surround sound system was able to partially preserve the stage production's 3D-spatial effect, especially when it was combined with the visually striking nature of the filmed production.”. The image and the text are over an orange background with the SB logo.
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Shakespeare Bulletin @shaxbull.bsky.social · 13/09/2026
Kim Gauthier reviews Théâtre Denise-Pelletier and Surreal SoReal’s 2025 production of Le roi Lear, adapted and translated by Jean Marc Dalpé and directed by Jon Lachlan 🎭: surrealsorealtheatre.com/our-shows/ki... 📰: muse.jhu.edu/article/998121 📷: Maxim Paré Fortin
The background of the photo is black, with warm-toned light illuminating the center of the stage. The actors are standing at the center of a gold and blue marble circular platform, with a gold and blue marble ring above them. There are eight actors in a clump, with two actors kneeling and the other six standing in a line behind them. The woman kneeling in the front left is wearing a pale skirt and a dark red cloth around her head like a shawl; she is pale-skinned with dark hair. The man kneeling in the front right is wearing brown pants, a white shirt, and a red cape over one shoulder; he is pale-skinned with dark hair. Standing in the back left is a pale-skinned man with black-rimmed glasses and short dark hair. He is wearing gray shorts, an open gray button down with a white shirt underneath, and he has a red cape over his shoulder. The woman next to him is pale-skinned with dark bangs, wearing a black gossamer dress with a gold waistband and a long red cape draped over her arm. The man at the center of the photo is old, with pale skin and a gray beard, wearing a helmet of gold antlers and a large red cape with gold tassels. Over his shoulder is an older pale-skinned man wearing a suit and a red cape. In the back right are two young actors, one pale-skinned woman with short curly hair and a red cape around her waist, the other in a gray suit with a red cape over her arm. Below the image is the text “Sinister at the beginning, this playful dance had at the end an aura of forgiveness and reconciliation, especially as Lear joined in and encouraged his daughters (freed from their husband-puppets) to do the same. These last moments were oddly moving, and I left the theater with a light heart.”. The image and the text are over an orange background with the SB logo.
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edelsemple.bsky.social @edelsemple.bsky.social · 10/09/2026
Thrilled to announce the Oxford World Classics #Pericles was published today! It was a pleasure to write the Introduction for this popular play. I’ll post about it each week until my OWC #Shakespeare webinar with Prof Emma Smith on 2 Nov. 2026!
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Deep Cuts in a Lovecraftian Vein @deepcuts.blog · 08/09/2026
RT if you've never had a tab of ChatGPT open, period.
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Shakespeare Bulletin @shaxbull.bsky.social · 30/08/2026
Bri Webber reviews Royal Shakespeare Company’s 2025 production of Measure for Measure, directed by Emily Burns 🎭: www.rsc.org.uk/measure-for-... 📰: muse.jhu.edu/article/998123 📷: Helen Murray (Measure for Measure)
Isabella (Isis Hainsworth), a woman with pale-skin and mid-length curly brown hair, sits alone onstage wearing a long light-yellow dress and a white short-sleeve shirt underneath. She is wearing dark yellow sneakers and has a large dark purple bag next to her. She is sitting on a green cushioned bench with a gray floor beneath her, staring straight out. A projection of a pale-skinned older man, Duke Vincentio (Adam James), with light hair wearing a white button-down shirt is above her. The lighting on the stage is a bright white light focused on the young woman, with the rest of the stage in shadow. Below the image is the text “When Isabella's only means of agency was self-destruction, she chose to escape through death over containment in life, and so removed herself from the gaze produced by the cameras; behind the stairs, Isabella was made invisible to the media. Burns's production left me with one feeling: resistance isn't perfect, and it has a huge cost”. The image and the text are over an orange background with the SB logo.
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Shakespeare Bulletin @shaxbull.bsky.social · 30/08/2026
Terri Bourus reviews the Shakespeare Theatre Company’s 2025 production of Merry Wives, directed by Taylor Reynolds 🎭: www.shakespearetheatre.org/index.php/ev... 📰: muse.jhu.edu/article/998124 📷: Teresa Castracane Photography (Merry Wives)
An image of Falstaff (Jacob Ming-Trent), Madam Nkechi Ford (Felicia Curry), and Madam Ekua Page (Oneika Phillips) standing at the front of a set which is designed to look like a laundromat. The back wall of the stage is a faux-brick facade containing large windows with AC units, as well as a yellow awning that says “laundry” in white capital letters with a blue outline. The floor of the laundromat is white and gray tile, with a set of modern gray dryers along the back wall and three white old-fashioned washing machines in the middle of the room. The actor on the left, Falstaff, is a brown-skinned man in a matching shirt and short set with an orange, blue, and white checkered pattern and palm trees. He has his hands on both sides of his cheeks and his mouth open, appearing to be surprised. The actor in the middle, Ford, is a brown-skinned woman with her dark hair in an up-do, also with her hands on both sides of her cheeks and her mouth open, appearing to be surprised. She is wearing metallic high heels, bright purple pants, and a purple and blue peplum top. Beside her is a large blue commercial laundry cart. The actor on the right, Page, is a brown-skinned woman, taller than the woman in the middle, with blonde waves. She is pointing at the man, with one hand over her heart and a straight face. She is wearing white heels, white pants, and a yellow and gray blouse with puffed sleeves. Below the image is the text “This production's choices were vivid, intelligent, and world-building, and they culminated in the raucous, happy, singing, dancing neighborhood costume party of the final scene. In the shared safe space of Harman Hall, America was still a place where immigrants, and audiences, could safely celebrate their interlocking differences.”. The image and the text are over an orange background with the SB logo.
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Shakespeare Bulletin @shaxbull.bsky.social · 25/08/2026
Today’s Extra Credit focuses on Bailey Sincox’s “Much Ado, Anyone But You, and Adapting the “Merry War”: An Interview with Screenwriter Ilana Wolpert”. Check out these open-access resources to go along with this open-access article! 📰: muse.jhu.edu/article/998118
“EXTRA CREDIT WITH Bailey Sincox” overtop of an orange background with the SB logo. “I was writing a new introduction to Much Ado About Nothing for Oxford World's Classics (out next April!) and was thinking a lot about the play, including its adaptations. I actually learned about Anyone But You from Shakespeare Bulletin's own Elizabeth Kolkovich, who is currently editing Much Ado for Cambridge and with whom I'm organizing a seminar on the play for SAA next year.” overtop of an orange background with the SB logo.“Since I had the longer historical arc of performing and adapting Much Ado fresh on my brain, I was particularly excited to talk to Ilana about how she approached the play and to unpack with her the Shakespearean DNA of this popular rom-com. I think the film shows us how vibrant Shakespeare's plays, Shakespeare's characters, and even Shakespeare's jokes (!) continue to be, even in forms we don't immediately recognize as ‘Shakespearean’.” overtop of an orange background with the SB logo.
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Hopkins Press @hopkinspress.bsky.social · 17/08/2026
NEW ISSUE OUT NOW Shakespeare Bulletin 44.2, Summer 2026 #S2O #OpenAccess @ProjectMUSE tiny.one/ty32ef4v CONTRIBUTORS Hailey Bachrach Roweena Yip Bailey Sincox Terri Bourus Isobel Strevens Bri Webber Kailey Potter Kibria Nasir Nick Trusty Jo Jones Arushi Grover Kim Gauthier and more
NEW ISSUE OUT NOW
Shakespeare Bulletin
44.2, Summer 2026

#S2O #OpenAccess @ Project MUSE

CONTRIBUTORS
Hailey Bachrach
Roweena Yip
Bailey Sincox
Terri Bourus
Isobel Strevens
Bri Webber
Kailey Potter
Kibria Nasir
Nick Trusty
Jo Jones
Arushi Grover
Kim Gauthier
Anna Naumenko
Charlene V. Smith
Stephen Watkins
Hannah L. Wilson
Jim Casey

HOPKINS PRESS JOURNALS
www.press.jhu.edu/journals/shakespeare-bulletin
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Dr. Benjamin Broadribb @benbroadribb.bsky.social · 23/08/2026
2/ Anna Naumenko, @charlenevsmith.bsky.social, and Steven Watkins. Thanks as always to all of the contributors to this issue! If you'd like to write a review for a future edition of @shaxbull.bsky.social, or just want to find out more, DM/reply here or email me at SBPerformance@marybaldwin.edu 🙂
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Dr. Benjamin Broadribb @benbroadribb.bsky.social · 23/08/2026
SB 44.2 is out now and fully Open Access 🎉 The performance reviews section features fantastic pieces from @terribourus.bsky.social, @izzistrevens.bsky.social, @briwebber.bsky.social, Kailey Potter, Kibria Nasir, Nick Trusty, Jo Jones, Arushi Grover, @teamaufidius.bsky.social 1/
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claire m. l. bourne @roaringgirle.bsky.social · 22/08/2026
now in press! 📖 the contributions to this collection are brilliant and a little bit weird (compliment!) & i can’t wait for it to be out in the world. forthcoming 2027… ✨
the table of contents of a collections called SHAKESPEARE AND TEXTUAL FAILURE printed on white computer paper. full text here: https://www.dropbox.com/scl/fi/utntr2lzaby23fzfjqhlo/TOC-shakespeare-and-textual-failure.pdf?rlkey=cog3pis71494adnioh3o0h6el&st=m5axwkxt&dl=0
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Shakespeare Bulletin @shaxbull.bsky.social · 21/08/2026
To watch the full production for free, join the Asian Shakespeare Intercultural Archive here, which will give you access to a wide-range of multilingual performance materials: a-s-i-a-web.org/en/splash.php
a-s-i-a-web.org
Welcome to A|S|I|A
The Asian Shakespeare Intercultural Archive is a collaborative, multilingual online archive of performance materials. Its aim is to provide resources for education and research in intercultural and Sh...
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Shakespeare Bulletin @shaxbull.bsky.social · 21/08/2026
Want to see clips from the Korean performance of A Midsummer Night’s Dream which Yip references in her article? Take a look at the trailer of the Yohangza Theater Company’s production here: www.youtube.com/watch?v=Iqet...
youtube.com
A Midsummer Night’s Dream by Yohangza Theatre Company.(teaser)
YouTube video by InKo Centre
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Shakespeare Bulletin @shaxbull.bsky.social · 21/08/2026
Today’s Extra Credit focuses on Roweena Yip’s “Teaching A Midsummer Night’s Dream as a Global Narrative”. Check out these open-access resources to go along with this open-access article! 📰: muse.jhu.edu/article/998117
“EXTRA CREDIT WITH Name” overtop of an orange background with the SB logo.  “‘In university contexts where students are increasingly taking non-humanities majors, how does Shakespeare continue to remain relevant in an interdisciplinary curriculum? This article considers how teaching an intercultural performance of Shakespeare in Singapore offers new ways of looking at text and performance, not only through the lens of adaptation theory but through students' distinctive modes of reception.’” overtop of an orange background with the SB logo.
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The Arden Shakespeare @ardenpublisher.bsky.social · 20/08/2026
New paperbacks publishing today! 📖 The Winter's Tale: bit.ly/4x7h6Ph 📖 Atrocity and Early Modern Drama: bit.ly/3TZtEtK
The image features two book covers from The Arden Shakespeare series. The first is "The Winter's Tale: A Critical Reader," the second is "Atrocity and Early Modern Drama,".
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Shakespeare Bulletin @shaxbull.bsky.social · 19/08/2026
Are you also involved in TTRPGs (for Shakespeare purposes, or otherwise)? You can access the TTRPG safety toolkit co-curated by Kienna Shaw and Lauren Bryant-Monk here: ttrpgsafetytoolkit.com
ttrpgsafetytoolkit.com
TTRPG Safety Toolkit
The home for the TTRPG Safety Toolkit
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Shakespeare Bulletin @shaxbull.bsky.social · 19/08/2026
Curious about the relationship between the character and the player body? Check out this article by Gabriel Widing & Tova Gerge, www.gwid.se/2006/the-cha..., which discusses how the participant in TTRPGs is directly connected to the story being told about their character.
gwid.se
The Character, the Player and Their Shared Body – GABRIEL WIDING
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Shakespeare Bulletin @shaxbull.bsky.social · 19/08/2026
Peruse the #ShakeRace Bibliography of early modern race and premodern critical race studies, ambereendadabhoy.com/2022/06/13/s..., described by Ambereen Dadabhoy as a space which signals how "race studies could 'shake up' Shakespeare studies” & provides room for scholars of color to connect.
ambereendadabhoy.com
#ShakeRace Bibliography
This bibliography offers a genealogy of the scholarly work in premodern (critical) race studies. It exhibits the long history of this scholarship and shows the new directions for critical inquiry t…
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Shakespeare Bulletin @shaxbull.bsky.social · 19/08/2026
Today’s Extra Credit focuses on Hailey Bachrach’s “Consent and Shakespearean Dramaturgy: Towards a New Tool for Actor Empowerment”. Check out these open-access resources to go along with @bachrach.bsky.social's open-access article! 📰: muse.jhu.edu/pub/1/articl...
EXTRA CREDIT WITH Hailey Bachrach” overtop of an orange background with the SB logo. Hailey’s article, “Consent and Shakespearean Dramaturgy: Towards a New Tool for Actor Empowerment”, discusses how questions of consent are handled in Shakespearean rehearsal rooms, especially post-#MeToo, and suggests a framework to assist artists in engaging those topics within the plays” overtop of an orange background with the SB logo.
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Pete Kirwan @drpetekirwan.bsky.social · 19/08/2026
SNOWFLAKES! They took the snowflakes off the paperback version. The one whimsical thing I’ve ever done. Perhaps, like Bohemia, the paperback is the turn to spring after a gap of time? But make sure you order the hardback if you want the rare original cover art when this is worth millions in future!
Two copies of The Winter’s Tale: A Critical Reader, both featuring a woodcut of renaissance dressed characters. The hardback version has snowflakes falling from the sky; the paperback, none.
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Pete Kirwan @drpetekirwan.bsky.social · 19/08/2026
The Winter’s Tale: A Critical Reader is out in paperback on Thursday! to celebrate, I will give away 2 copies to people who share their most interesting and surprising Winter’s Tale facts in the comments. (Also on IG). And for everyone else, you can order at www.bloomsbury.com/us/winters-t...
Five copies of the winter’s tale, a critical reader, spread out in a fan on a filing cabinet. The book includes a woodcut that has nothing to do with the play, but is taken from the Spanish tragedy.
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Brett Greatley-Hirsch @notwithoutmustard.bsky.social · 19/08/2026
Latest issue of Shakespeare now available! www.tandfonline.com/toc/rshk20/c... Shakespeare's marriage, #earlymodern centaurs, 'brown matters', eco-imaginaries, Turkish miniseries, and reviews!
tandfonline.com
Shakespeare
Volume 22, Issue 3 of Shakespeare
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. @curtisperry.bsky.social · 19/08/2026
I own a bear costume so I can have somebody chase me out of class as bear on the last day of the semester as we discuss that play
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Pete Kirwan @drpetekirwan.bsky.social · 19/08/2026
The Winter’s Tale: A Critical Reader is out in paperback on Thursday! to celebrate, I will give away 2 copies to people who share their most interesting and surprising Winter’s Tale facts in the comments. (Also on IG). And for everyone else, you can order at www.bloomsbury.com/us/winters-t...
Five copies of the winter’s tale, a critical reader, spread out in a fan on a filing cabinet. The book includes a woodcut that has nothing to do with the play, but is taken from the Spanish tragedy.
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Shakespeare Bulletin @shaxbull.bsky.social · 15/08/2026
NEW ISSUE KLAXON: Shakespeare Bulletin 44.2 is now published via Project Muse! Check it out here 📰: muse.jhu.edu/issue/57436
The cover of Shakespeare Bulletin 44.2 featuring three black-and-white production images and the SB logo over an orange background.
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Hailey @bachrach.bsky.social · 14/08/2026
After a few years longer than intended, I'm so excited that the article based on my Leverhulme postdoc 'Shakespeare and Consent' is now published and is available to read for free: muse.jhu.edu/pub/1/articl...
muse.jhu.edu
Project MUSE -- Verification required!
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Hailey @bachrach.bsky.social · 14/08/2026
Huge thanks as ever to @drpetekirwan.bsky.social, one of the best and most supportive editors and general mentors in the whole dang place. here are the section headings he inexplicably allowed me to include
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Pascale Aebischer (she/her) @pascaleexeter.bsky.social · 11/08/2026
Just in case you haven't signed this yet: The crisis in Exeter is not over. It's just in that dangerous phase where people forget about it unless they're affected. We're waiting to find out the results of the 'consultation'. There's still time to change course. Share and sign! c.org/VZDjrbTybJ
c.org
Sign the Petition
Stop Redundancies at the University of Exeter
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Pete Kirwan @drpetekirwan.bsky.social · 09/08/2026
I did this role for a few years - a great way to get to know the uk Shakespeare community and help shape the organization’s daily life.
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Faculty of English, University of Oxford @engfac.bsky.social · 07/08/2026
Save the date for our next #Shakespeare Webinar with Prof Emma Smith @oldfortunatus.bsky.social. On 7 September at 6pm she will be joined by Dr Harry Newman (Royal Holloway) to explore The Winter's Tale. #WintersTale Free, but registration required. Find out more:
english.web.ox.ac.uk
English Faculty / Oxford World's Classics Shakespeare Webinar Series with Professor Emma Smith
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Pete Kirwan @drpetekirwan.bsky.social · 07/08/2026
As universities collapse, might now be the time for the for-profit publishers - who bought up academic journals, forced them behind paywalls, and charged institutions to access them, all without paying authors and editors - to be forced to subsidise the institutions that provide their content?
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Dr Laura Sangha @lsangha.bsky.social · 24/07/2026
Last week, about a third of the History department were able to gather together on graduation day. Rather than lend our intellectual authority to the official procession and ceremony we invited our students to come and celebrate their achievements with us in a shady courtyard. They came. 1/
A group of world leading historians in their finery, some in gowns, stand together under a tree. Some carry signs saying 'Historian at risk', other raise a glass to the camera.
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elia ayoub @ayoub.bsky.social · 15/07/2026
Jesus. 35 UK universities quietly- without debate - joined the Ministry of Defence’s “Battlefield Alliance” which seeks to “reorientate academia towards Defence and National Security” They’re destroying the social sciences and humanities while militarising the institutions
• Durham University
• Newcastle University
• Northumbria University
• Lancaster University
• University of Cumbria
• University of Lancashire
• University of Liverpool
• University of Manchester
• University of Huddersfield
• University of Sheffield
• University of York
• Loughborough University
• University of Lincoln
• University of Nottingham
• Aston University
• University of Birmingham
• University of Warwick
• King's College London
• Kingston University
• Queen Mary University of London
• University College London
• University of Oxford
• University of Portsmouth
• University of Surrey
• University of Bath
• University of Bristol
• University of Exeter
• University of Plymouth
• University of Edinburgh
• University of Glasgow
• University of Strathclyde
• Cardiff University
• Swansea University
• Queens University Belfast
• Cranfield UniversityFOR IMMEDIATE RELEASE
14 July 2026
UK Universities Betray Public Trust by Joining MoD's 'Battlefield Advantage' Alliance
Without Debate
A coalition of campaign groups has accused UK universities of quietly integrating themselves into Britain's defence infrastructure after 35 institutions signed up to the Ministry of Defence's Defence Universities Alliance (DUA).
The Ministry of Defence says the alliance aims to "reorientate academia towards Defence and National Security", strengthen links between universities and the defence sector, and translate research into "battlefield advantage".
Campaigners say the move represents a significant shift in the role of higher education and has taken place without meaningful public debate.
Among the founding members are the University of Oxford, University College London, King's College London, the University of Manchester, the University of Edinburgh, Cardiff University and Queen's University Belfast.
"We are witnessing the formal incorporation of Britain's universities into the defence ecosystem," said Jinsella Kennaway, Founder and Executive Director of Demilitarise Education.
"The Ministry of Defence is explicit about its intentions. Universities exist to advance knowledge and foster critical inquiry, not to become pipelines for military research and defence recruitment.
Students and staff deserve to know who agreed to this and why."
Campaigners are calling on all 35 universities to publish the governance documents and board minutes relating to their decision to join the alliance, and to explain whether staff and students were consulted.
Many UK universities already maintain relationships with major defence companies, including BAE Systems, Rolls-Royce, Leonardo, Thales, Lockheed Martin and QinetiQ. Critics argue that the DUA formalises and accelerates the integration of academia, industry and the state.
The coalition warns that, at a time of rising defence spending, universities risk becoming increasingly aligned with governme…
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Alejandra Caraballo @esqueer.net · 12/07/2026
Amnesty International put out a major report documenting the influence of UK based anti trans gender critical organizations and their funding. Within hours, GC groups threatened defamation lawsuits and Amnesty was forced to pull it down. Proving the point they're anti rights. Anyways, here it is.
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Shakespeare Bulletin @shaxbull.bsky.social · 10/07/2026
Henry MacCarthy reviews Iceland Dance Company’s 2025 production of Romeo and Juliet—Up Close, choreographed by Erna Ómarsdóttir and Halla Ólafsdóttir 🎭: id.is/en/romeo-jul... 📰: muse.jhu.edu/article/992529 📷: Hörður Sveinsson
An image of seven dancers onstage, all wearing flowing white garments and covered head to toe in blood. In the back of the photo, two women have their hands up in the air as if in celebration, with their eyes wide and their mouths open. Two more women stand in front of them, one level down, both staring up at the sky. One appears to be screaming and the other is wiping blood down the rest of her body. A fifth woman stands center stage with her long dark hair stuck to her face and a fist in the air, her mouth open as if shouting in triumph. There are two men in front of her, clutching one another as if in an embrace and covered in blood. Below the image is the text “Romeo and Juliet—Up Close was not a translation of Shakespeare’s play into dance; it was a confrontation with its themes and a radical reappropriation of its emotional architecture. The performance resisted the urge to narrate or explain, choosing instead to immerse its audience in a visceral journey.”. The image and the text are over a blue background with the SB logo.
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Shakespeare Bulletin @shaxbull.bsky.social · 10/07/2026
Ceola Daly reviews Stratford East and Sadler’s Wells East’s 2025 production of Romeo & Juliet, directed by Emily Ling Williams and Malik Nashad Sharpe 🎭: www.sadlerswells.com/romeo-and-ju... 📰: muse.jhu.edu/article/992528 📷: Charlie Flint
An image of a two-story structure made up of metal pipes. The top of the platform is bare, aside from about eight dancers atop of it, while the lower level of the platform includes two rooms. The back room on the left of the photo is lit in red and pink, while the back room on the right of the photo is lit in blue and has a sign with a hand holding a taco in it. The rest of the stage is relatively dark with flashes of colorful lights (pink, green, orange, and blue) scattered across what appears to be a dance scene, giving the stage the appearance of a party in a warehouse. There are about thirty dancers, smiling and appearing to slide away from the center of the stage with their arms on a diagonal. Below the image is the text “The interweaving of dance sequences throughout the production accentuated moments of cultural confluence and synergy within the community of Williams and Sharpe’s East London Verona.”. The image and the text are over a blue background with the SB logo.
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Pete Kirwan @drpetekirwan.bsky.social · 12/07/2026
A man called Sinner being repeatedly told “Fault” by a judge sitting above feels so much like a medieval play.
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Pete Kirwan @drpetekirwan.bsky.social · 12/07/2026
Henderson stay off the pitch, just sit down quietly.
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Pete Kirwan @drpetekirwan.bsky.social · 11/07/2026
Oh I am so sorry to see Gordon going off; I’m no expert but it feels like he’s been creating so much of England’s attacking runs.
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Pete Kirwan @drpetekirwan.bsky.social · 09/07/2026
My review of Tim Keenan’s edited collection about the Shakespeare North Playhouse now out open access in @earlytheatre.bsky.social : muse.jhu.edu/pub/286/arti... - loved getting to think through this collection on the uses and practices of reconstructed playhouses.
muse.jhu.edu
Project MUSE -- Verification required!
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Early Theatre @earlytheatre.bsky.social · 05/07/2026
Coming soon in ET 29.1: @drpetekirwan reviews Tim Keenan's edited volume The Shakespeare North Playhouse (Routledge, 2024).
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Early Theatre @earlytheatre.bsky.social · 09/07/2026
Hello, world! 🎙️ We're thrilled to share that our newest issue is live on Project Muse: buff.ly/4qCfd3e — free for public access! 🎊 🎭️ Follow our posts over the next few days for highlights and sneak peeks. #EarlyTheatre #NewIssue
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Loughborough University UCU @lboroucu.bsky.social · 07/07/2026
Please sign & share the open letter to save modern languages at the Uni of Nottingham, this is part of a much wider national crisis & this letter is a chance for the sector to speak with one voice: forms.cloud.microsoft/pages/respon... #SaveLanguagesAtUoN #HigherEducation @uonucu.bsky.social
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Pete Kirwan @drpetekirwan.bsky.social · 06/07/2026
Well, at least we’ve established that Quansah can still play next match.
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Reposted by Pete Kirwan
Shakespeare Bulletin @shaxbull.bsky.social · 02/07/2026
Edel Semple reviews the Bridge Theatre’s 2025 production of A Midsummer Night’s Dream, directed by Nicholas Hytner 🎭: www.bridgetheatre.co.uk/whats-on/a-m... 📰: muse.jhu.edu/article/992521 📷: Manuel Harlan
An image of Puck (David Moorst) and Lysander (Divesh Subaskaran). Lysander, a man with brown skin and short, dark curly hair sits on the edge of a bed with a guitar in his lap, looking out at the audience with his mouth slightly parted in a smile as if he is speaking or singing. He is wearing blue jeans, a white t-shirt, and a leather jacket, with a gold chain around his neck. Above him is a Puck, hanging upside down by his foot, suspended in the air by an aerial sling. He has pale skin and short brown hair, and he is wearing black leather pants, a black tank top with black sequins wrapping around his torso, and he is holding a purple flower between his toes. A bright white spotlight is in the top left corner of the photo, illuminating the stage like the moon. Below the image is the text “My enduring memories of Nicholas Hytner’s 2025 production of A Midsummer Night’s Dream at the Bridge Theatre are of beds, bodies, and joy”. The image and the text are over a blue background with the SB logo.
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Reposted by Pete Kirwan
Shakespeare Bulletin @shaxbull.bsky.social · 02/07/2026
Hannah L. Wilson reviews the Royal Shakespeare Company’s 2025 production of Born With Teeth, directed by Daniel Evans 🎭: www.rsc.org.uk/born-with-te... 📰: muse.jhu.edu/article/992522 📷: Johan Persson
An image of Christopher “Kit” Marlowe (Ncuti Gatwa) and William “Will” Shakespeare (Edward Bluemel) sitting at a wooden table at the center of the stage. The man on the left, Kit, is dark skinned, with short black hair, and he is wearing dark brown leather pants with a high collared matching jacket. He is leaning over the table with one knee on a stool and one hand braced against the table, leaning towards the other man. The man on the right, Will, has pale skin, light brown hair that is in slight disarray, and he is sitting on a stool facing the other man. He is wearing light brown leather pants, a white flowy shirt, and a brown vest. He is holding a quill in his hand. Below the image is the text “Inspired by the New Oxford Shakespeare editors’ conclusion that “Marlowe had collaborated with Shakespeare on the three Henry VI history plays”, Liz Duffy Adams offered an imagined representation of the playwrights’ processes and personal relationship [. . .] At ninety minutes without an interval, it was a fast-paced, quick-witted, ironic, sexy, and surprisingly emotional glimpse into lost moments in history.”. The image and the text are over a blue background with the SB logo.
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Reposted by Pete Kirwan
Shakespeare Bulletin @shaxbull.bsky.social · 26/06/2026
You can watch a recording of their 2022 production of “Trust Me I'm a Doctor”, which they toured to Montpellier: edwardsboys.org.uk/productions/..., or read about their production of “The Knight of the Burning Pestle” which toured to Montpellier just this past April: ircl.cnrs.fr/les-edwards-...
edwardsboys.org.uk
Trust Me, I’m a Doctor (2022) – Edward's Boys
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Reposted by Pete Kirwan
Shakespeare Bulletin @shaxbull.bsky.social · 26/06/2026
Want to hear from Perry Mills directly? Listen to his conversation on the “A Bit Lit” website about the company’s rehearsal process, production choices and what it means to work with such unusual and often surprisingly violent and sexual plays: abitlit.co/conversation...
abitlit.co
Perry Mills tells us about Edward's Boys, a company of schoolboys staging early modern drama · A Bit Lit
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