Scene: Reviews of Early Modern Drama <p><em>Scene&nbsp;</em>publishes <strong>review essays</strong> about early modern English drama in performance, <strong>reviews</strong> of productions and adaptations of early modern plays, <strong>book reviews</strong>, <strong>film reviews</strong>, and <strong>production notes</strong>. Our scope is mainstream professional productions, as well as university, drama school, and non-professional productions.</p> University of Victoria en-US Scene: Reviews of Early Modern Drama 2562-1025 <p>Contributors retain the copyright of the text of their contributions. Any images contained therein are subject to the copyright specifications of their respective creators. <em>Scene</em>'s paratextual materials are freely available for quotation and reuse, with credit given to&nbsp;<em>Scene</em>.</p> Reprising ASL at ACT <p>A review of <em>Romeo &amp; Juliet</em> at Seattle's A Contemporary Theatre featuring deaf actors in the roles of Friar Lawrence and Romeo.</p> Michael W. Shurgot Copyright (c) 2019 Michael W. Shurgot 2019-10-23 2019-10-23 3 1 10.18357/sremd31201918833 So much for Bardolatry! (Drunken) Romeo and Juliet in Shit-faced Shakespeare <p>A review of the Atlanta production of&nbsp;<em>Romeo and Juliet</em> by the Shit-faced Shakespeare company. Argues that the performance "highlighted the populist nature of American Shakespearean appropriation and commodification and the intersection of highbrow and lowbrow culture in American society" and "explores these aspects of Shakespearean appropriation through engagement with the writings of Antonin Artaud, Guy Debord, and Lawrence Levine on the theatre of cruelty, the society of the spectacle, and highbrow and lowbrow culture, respectively."</p> Dan Mills Copyright (c) 2019 Dan Mills 2019-11-06 2019-11-06 3 1 10.18357/sremd31201919144 From Rigid Regency Sicilia to Musical Bohemia: Cincinnati Shakespeare Company's The Winter's Tale <p>A review of&nbsp;<em>The Winter's Tale</em> at the Cincinnati Shakespeare Company (March 2019).</p> Niamh J. O'Leary Copyright (c) 2019 Niamh J. O'Leary 2019-11-06 2019-11-06 3 1 10.18357/sremd31201919022 One-Click Russian Populism in Putinesque The Knight of the Burning Pestle <p>A review of the 2019 Cheek by Jowl and Moscow Pushkin Drama Theatre/Barbican co-production of&nbsp;<em>The Knight of the Burning Pestle</em>, at the Barbican.</p> Kevin A. Quarmby Copyright (c) 2020 Kevin A. Quarmby 2020-01-17 2020-01-17 3 1 10.18357/sremd31201919395 Misrule and Melancholy: Stamford Shakespeare Company's Gender-Bending Twelfth Night <p>Actor Stephanie Collins reviews The Stamford Shakespeare Company's 2019 production of <em>Twelfth</em> <em>Night</em>, in which she played Fabia. The production's<em>&nbsp;</em>richly imagined Albanian-style Illyria created a vibrant aura of misrule. Collins's review includes material from her conversations with the director, designer, and other actors.</p> Stephanie Collins Copyright (c) 2020 Stephanie Collins 2020-01-29 2020-01-29 3 1 10.18357/sremd31201919237 A Youthful Julius Caesar Experiment <p>A co-authored review of the Greater Victoria Shakespeare Festival's 2019 production of&nbsp;<em>Julius Caesar</em>.&nbsp;</p> Erin E. Kelly Janelle Jenstad Copyright (c) 2020 Erin E. Kelly, Janelle Jenstad 2020-06-18 2020-06-18 3 1 10.18357/sremd31201919637 A Midsummer Night's Dream at Cardiff Castle P.B. Roberts Copyright (c) 2020 Peter Roberts 2020-11-27 2020-11-27 3 1 10.18357/sremd31201919230 The Tempest and The Merchant of Venice at the Shakespeare Company, Calgary <p>Production notice for the 2019 Shakespeare Company productions of&nbsp;<em>The Tempest</em> and&nbsp;<em>The Merchant of Venice</em> in Calgary. Described by Cliff Werier.</p> Clifford Werier Copyright (c) 2020 Clifford Werier 2021-03-16 2021-03-16 3 1 10.18357/sremd31201920088