Shakespeare's Staging
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Monday, 28 March 2005 08:00



               Image: William Hogarth: David Garrick as Richard III, 1745  

(1) Shakespeare in Performance: "King Richard III", Manchester University Press, January,1990, pp. 158, Manchester University Press, June, 1991, Paperback reprint.

(2) Milton's Drama of "Paradise Lost", Peter Lang. New York, 1992,

(3) Shakespeare in Performance: "King Henry VIII", Manchester University Press in January, 1994.

(4) Shakespeare Illuminations: Essays in Honor of Marvin Rosenberg, Newark: University of Delaware Press, 1998 371 pp. Co-edited by Jay Halio & Hugh Richmond (includes: Hugh Richmond, "A Letter to the Actor Playing Lear," pp.110-130).

(5) Critical Bibliographies of Shakespeare and the Renaissance Stage & Shakespearean Stage History: U. North Carolina, Asheville, Pegasus Press, 1999 (paperback).

(6) Critical Essays on Shakespeare's "Richard III." Edited, with  commentary, H. M. Richmond. New York: G. K. Hall, 1999.

(7) Shakespeare's Theatre: A Dictionary of His Stage Context, London/New York Continuum/Athlone, 2002. Paperback edition, 2005.


(1) "The Synergistic Use of Shakespearean Film and Videotape," Literature-Film Quarterly, V.4 (Fall, 1977), 362-64

(2) "The Berkeley Shakespeare Program," Teaching Shakespeare , I.2 (Fall,1977), 4-5

(3) "Shakespeare Media Library," Shakespeare and Film , V.2 (May, 1981), p.4

(4) "Dominant Women," Berkeley Shakespeare Festival Program (1982), p.18

(5) "Teaching Shakespeare," Shakespeare Newsletter, XXXIII (Summer1983), p.18

(6) "Humanities and Technology," Teaching at Berkeley (Spring,1984), p.12

(7) "Television and the Humanities," Studies in Medieval & Renaissance Teaching, XI.2 (1984) p.7

(8) "Recreating Elizabethan Productions," Shakespeare Newsletter (Summer, l985), p.20

(9) "TV or Not TV: Television in Shakespeare Studies," Shakespeare & Film Newsletter, XI.2 (Dec., 1986), p.11

(10) "King Lear in a Course on Shakespeare and Film," in Approaches to Teaching "King Lear," ed. R. Ray, New York: M.L.A. (1986), 130-35

(11) "Paradise Lost: Performance as Criticism," Milton Quarterly, 22.1 March, 1988), pp.17-20

(12) "Peter Quince Directs Romeo & Juliet ," Shakespeare & the Sense of Performance, ed. Marvin Thompson (Newark: U. of Delaware, 1989, pp.219-27.

(13) "The Two Noble Kinsmen: Performance as Criticism," in Shakespeare & Fletcher: "The Two Noble Kinsmen", ed. C. Frey (Columbia: U. of Missouri Press, 1989), pp.163-85.

(14) "Techniques for Reconstituting Elizabethan Staging," in New Issues in the Reconstruction of Shakespeare's Theatre , ed. Frank Hildy (New York: Peter Lang, 1990), pp.159-84.

(15) "King Richard III in Performance," in Shakespeare Criticism Yearbook 1990. London: Gale, 1992, pp.137-49.

(16) "Teaching The Tempest and the Late Plays by Performance," in Approaches to Teaching Shakespeare: "The Tempest" and Other Late Romances, ed. Maurice Hunt, New York:M.L.A. !992, pp. 125-32.

(17) "Shakespeare's Last Experiment in Verismo: A Performance Approach to All Is True," Theatre History Studies, XIII (1993), 47-62.

(18) "The Centrality of A Midsummer Night's Dream," in Teaching Shakespeare Today, ed. James E. Davis & Ronald E. Salomone, Urbana: National Council of Teachers of English, 1993, 254-62

(19) "Shakespeare at the University of California," Shakespeare and the Classroom, I (1993) 1-2.

(20) "The Shakespeare Program at U.C. Berkeley," Shakespeare and the Classroom, 2 (Spring, 1994), 21-22.

(21) "Angles of Vision: Recording Much Ado at the Restored Globe Theatre." Shakespeare Bulletin, 15.1 (Winter, 1997), 31-33

(22) "Shakespeare's Henry VIII" Shakespearean Criticism, Vol. 40, Gale Research, 1999.

(23) "A Letter to the Actor Playing Lear." in Shakespeare Illuminations: Essays in Honor of Marvin Rosenberg, Coedited by Jay Halio & Hugh Richmond, Newark: University of Delaware Press, 1998, pp.110-130.

(24) "The Two Gentlemen of Verona: Dramaturg's Notes." and "King Lear: Dramaturg's Notes." Berkeley: California Shakespeare Festival Program, Summer, 1999.

(25) "Teaching Shakespeare in Performance at the Restored Shakespeare Globe Theatre at Bankside, London." Studies in Medieval and Renaissance Teaching VII.2 (Fall,1999),61-66.

(26) "Is The Taming of the Shrew Politically Correct?" California Shakespeare Festival Study Guide, 2000 Season

(27) "Rosencranz and Guildenstern are Dead." California Shakespeare Festival 2000 Study Guide

(28) "Love's Labour's Lost" California Shakespeare Festival 2000 Study Guide

(29) "Multivalent Shakespeare: the Spanish Connection' in "Multicultural Approaches to Teaching Shakespeare." Shakespeare Yearbook, 2001.

(30) "The UCB Shakespeare Program" Chronicle of the University of
V (2004), 116-28.

(31) "Dramatists Against Theory: the Affective Dramaturgy of Cinthio, Lope de Vega, and William Shakespeare", Shakespeare Bulletin, 22.4 (Winter 2005), 43-53.

(32) “Hamlet: Blood on the Brain,” Shakespeare Bulletin 25.3 (Fall, 2007), 89-92

(33) “Two Sicilies: Ethnic Conflict in Much Ado,’ Shakespeare Newsletter  57.1 No. 271 (Spring/Summer, 2007), 17-18.

(34) "Globe Theatre: built in London, 1598", The Literary Encyclopedia, Accessed 8 May 2008.

(35) "Shakespeare's Globe Theatre: 1997", The Literary Encyclopedia, Accessed 15 July 2008.

(36) “A Twelfth Night to Remember,” Internet Shakespeare Editions Performance Chronicle, 2/12/2010  at

(37) “King Henry VIII,” ,” Internet Shakespeare Editions Performance Chronicle, 6/25/2010 at 



 (38) "Shakespeare and the Internet at Berkeley," RSC: My Shakespeare at uk/blog/ 2012.

(39) A website about Milton and Performance at

(40) "Paradise Lost as an Oral Epic" in Approaches to Teaching "Paradise Lost," second editipn, editor Peter C. Herman, New York M.L.A., 2012, pp.192-6.

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