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Contributors to Queen's Men Editions

Editorial Board

Helen Ostovich ostovich@mcmaster.ca professor emerita of English at McMaster University, is the founder and general editor (text) of Queen's Men Editions. She is a general editor of The Revels Plays (Manchester University Press); Series Editor of Studies in Performance and Early Modern Drama (Ashgate, now Routledge), play-editor of several works by Ben Jonson, in Four Comedies: Ben Jonson (1997); Every Man Out of his Humour (Revels 2001); and The Magnetic Lady (Cambridge 2012). She has also edited the Norton Shakespeare 3 The Merry Wives of Windsor Q1602 and F1623 (2015); The Late Lancashire Witches and A Jovial Crew for Richard Brome Online, revised for a 4-volume set from OUP 2018; The Ball, for the Oxford Complete Works of James Shirley (2018); The Merry Wives of Windsor for Internet Shakespeare Editions, and The Dutch Courtesan (with Erin Julian) for the Complete Works of John Marston, OUP 2020. She has published many articles and book chapters on Jonson, Shakespeare, and others, and several book collections, most recently co-editing Magical Transformations of the Early Modern English Stage with Lisa Hopkins (2014).

Peter Cockett cockett@mcmaster.ca associate professor in the Theatre and Film Studies at McMaster University, is general editor (performance), and technical co-ordinating editor of Queen’s Men Editions. He was the stage director for the Shakespeare and the Queen’s Men project (SQM), directing King Leir, The Famous Victories of Henry V, and Friar Bacon and Friar Bungay (2006) and he is the performance editor for our editions of those plays. The process behind those productions is documented in depth on his website Performing the Queen's Men. Also featured on this site are his PAR productions of Clyomon and Clamydes (2009) and Three Ladies of London (2014). For the PLS, the University of Toronto’s Medieval and Renaissance Players, he has directed the Digby Mary Magdalene (2003) and the double bill of George Peele’s The Old Wives Tale and the Chester Antichrist (2004). He also directed An Experiment in Elizabethan Comedy (2005) for the SQM project and Inside Out: The Persistence of Allegory (2008) in collaboration with Alan Dessen. Peter is a professional actor and director with numerous stage and screen credits.

Andrew Griffin griffin@english.ucsb.edu assistant professor in the department of English and an affiliate professor in the department of Theater and Dance at the University of California, Santa Barbara, is general editor (text) of Queen’s Men Editions. He studies early modern drama and early modern historiography while serving as the lead editor at the EMC Imprint. He has co-edited with Helen Ostovich and Holger Schott Syme Locating the Queen’s Men (2009) and has co-edited The Making of a Broadside Ballad (2016) with Patricia Fumerton and Carl Stahmer. His monograph, Untimely Deaths in Renaissance Drama: Biography, History, Catastrophe is under contract with the University of Toronto Press. He is editor of the anonymous The Chronicle History of King Leir (Queen's Men Editions, 2011).

Advisory Board

David Bevington bevi@uchicago.edu is the University of Chicago Phyllis Fay Horton Distinguished Service Professor Emeritus in the Humanities and in English Language & Literature, Comparative Literature, and the College at the University of Chicago. He has dominated the field of early drama since his first book, has edited all of Shakespeare's plays, and been a senior editor for Revels Plays and Revels Student Editions (non-Shakespearean plays), and many other drama projects, such as The Bantam Shakespeare; The Complete Works of Shakespeare, 6th edition, 2008, The Norton Anthology of Renaissance Drama, and The Cambridge Edition of the Works of Ben Jonson. His recent works include Murder Most Foul: Hamlet Through the Ages (Oxford, 2011).

Alan C. Dessen acdessen@email.unc.edu Peter G. Phialas Professor (Emeritus) at the University of North Carolina, Chapel Hill, authored eight books, four of them with Cambridge University Press: Elizabethan Stage Conventions and Modern Interpreters (1984); Recovering Shakespeare's Theatrical Vocabulary (1995); Rescripting Shakespeare (2002); and, co-authored with Leslie Thomson, A Dictionary of Stage Directions in English Drama, 1580-1642 (1999). Until 2001 he was the director of Actors from the London Stage (formerly ACTER), which brings groups of five British actors for one-week residencies at US college campuses. He served 15 years (to 2009) as editor or co-editor of the "Shakespeare Performed" section of Shakespeare Quarterly. His most recent publication is "Much Virtue in O-Oh: A Case Study", Early Theatre 20.2 (2017).

Richard Dutton dutton.42@osu.edu is Professor of English at Queen's University, Belfast, and Humanities Distinguished Professor of English (Emeritus) at The Ohio State University. His scholarly editing includes Ben Jonson's Epicene (Revels 2003) and Volpone for the Cambridge Works of Ben Jonson (2012); Jacobean Civic Pageants (Keele U.P., 1995) and Women Beware Women' and Other Plays by Thomas Middleton (OUP, 1999). He is one of the general editors of the Revels Plays series. His most recent monograph is Shakespeare, Court Dramatist (OUP 2016), to work on which he was awarded an NEH fellowship in 2008/9. His Shakespeare’s Theater: A History is forthcoming from Wiley-Blackwell in 2018. He is currently working on an edition of The Malcontent for the Oxford Marston and on a revision of his Mastering the Revels.

Lloyd Edward Kermode lloyd.kermode@csulb.edu is professor of English at California State University, Long Beach and co-director of the Center for Medieval and Renaissance Studies, CSULB. He has published articles on Three Ladies, having edited the play (Revels Companions, 2008) in the context of other usury plays, and has written the most recent assessment of Robert Wilson for The Encyclopedia of English Renaissance Literature, eds G. Sullivan and A. Stewart, 2012.Other works include with J. Dillon (ed.),‘Space and Place in Early Modern Drama’, Special issue of Journal of Medieval and Early Modern Studies 43.1 (2013) (introd. L.E. Kermode); ‘King Leir within the Thicket: Gender, Place, and Power’, Renaissance and Reformation 35.1 (2012), 65-83; ‘Money, Gender, and Conscience in Robert Wilson’s The Three Ladies of London’, Studies in English Literature 52.2 (2012), 265-91; and Aliens and Englishness in Early Modern Drama (Cambridge, 2009).

Roslyn L. Knutson RLKnutson@ualr.edu is emerita professor at the University of Arkansas at Little Rock. She serves on the editorial board for Shakespeare Quarterly, and the executive committee, Marlowe Society of America. She is a pioneer in the field now called Repertory Studies. Her recent publications include ‘The Jew of Malta in Repertory’, R.A. Logan (ed.), The Jew of Malta: A Critical Guide, Arden Early Modern Drama Guides (London, 2013), 79-105; and ‘The Adult Companies and the Dynamics of Commerce’, S. Gossett (ed.), Thomas Middleton in Context (Cambridge, 2011), 168-75; ‘Repertory System’, A. Kinney (ed.), The Handbook of Shakespeare (Oxford, 2011), 400-14; ‘The Start of Something Big’, H. Ostovich, H.S. Syme, and A. Griffin (eds), Locating the Queen’s Men: Material Practices and Conditions of Playing, 1583-1603 (Farnham, 2009), 99-108.

Sally-Beth MacLean s.maclean@utoronto.ca professor emeritus, department of English, University of Toronto, is director of research/general editor of the Records of Early English Drama series and director of the REED Patrons and Performances Web Site and Early Modern London Theatres. With Scott McMillin, she co-authored The Queen's Men and their Plays (CUP, 1998) and with Lawrence Manley, Lord Strange's Men and their Plays (Yale UP, 2014). She has published widely on patronage, touring, digital initiatives, and festive culture. Her most recent article is ‘How to Track a Bear in Southwark: a learning module,’ with Tanya Hagen, in Sarah Carpenter, Pamela M. King, Meg Twycross, and Greg Walker (eds), The Best Pairt of our Play: Essays presented to John J. McGavin, MeTH 38 (Boydell & Brewer, 2016), 232-46.

Lawrence Manley lawrence.manley@yale.edu William R Kenan Jr Professor of English at Yale University, is the author of Literature and Culture in Early Modern London (1995) and Convention, 1500-1750 (1980), and the editor of London in the Age of Shakespeare: An Anthology (1986) and The Cambridge Companion to London and English Literature (2011). He has contributed to The Cambridge History of Literary Criticism, The Cambridge History of Early Modern English Literature, the Blackwell Companion to Renaissance Drama, and The Stanford Global Shakespeare Encyclopedia. He is co-author, with Sally-Beth MacLean, of Lord Strange's Men and Their Plays (2014).

Ian Munro, imunro@uci.edu associate professor of drama at UC Irvine, authored The Figure of the Crowd in Early Modern London: The City and its Double (Palgrave Macmillan, 2005), which explores the relationship between early modern perceptions of the crowd and perceptions of London; and current projects include Laughing Matter: The Publication and Performance of Wit in Early Modern England. As part of his work on jesting, he has edited A Woman's Answer is Never to Seek: Early Modern Jestbooks, 1526-1635 for Ashgate's "Early Modern Englishwoman" series (2007). Recent essays have discussed the influence of jestbooks on Shakespeare, Jonson, Marston, Middleton, and plays of the Queen's Men. As a dramaturg he worked with Robert Cohen (Timon of Athens, Endgame), and Phil Thompson (Measure for Measure). 

Jennifer Roberts-Smith, j33rober@uwaterloo.ca associate professor of drama and associate chair of theatre and performance at the University of Waterloo, has an MA in Drama and a PhD in English from the University of Toronto. She is a scholar-practitioner who also has directed Thais, Troilus and Cressida, Julius Caesar, Herod (Chester 2010); and Henry VI Part 1 (2015); and has expertise in digital humanities, working on simulated environment for theatre [SET] on the project Watching the Script.

Tiffany Stern, T.Stern@bham.ac.uk professor of early modern drama, Shakespeare Institute (U of Birmingham), specializes in Shakespeare, theatre history from the sixteenth to the eighteenth century, book history, and editing. Her current project is to complete two editions, George Farquhar's Recruiting Officer (New Mermaids), and Richard Brome's Jovial Crew (Arden Early Modern Drama), and her edition of Shakespeare's Merry Wives of Windsor is forthcoming from Barnes and Noble. She is a general editor of the New Mermaids play series and author of Documents of Performance in Early Modern England (Cambridge: Cambridge University Press, 2009) and Rehearsal from Shakespeare to Sheridan (Oxford, 2000) 

Holger Schott Syme holger.syme@utoronto.ca associate professor of English and Drama at the University of Toronto Mississauga, is author of Theatre and Testimony in Shakespeare's England: A Culture of Mediation(CUP, 2011) and co-editor with Helen Ostovich and Andrew Griffin of Locating the Queen's Men, 1583-1603 (Ashgate, 2009). His recent work includes "(Mis)representing Justice on the Early Modern Stage," Studies in Philology (2011); "The Meaning of Success: Stories of 1594 and its Aftermath," Shakespeare Quarterly (2010); and "Unediting the Margin: Jonson, Marston, and the Theatrical Page," English Literary Renaissance38.1 (2008): 142-71. As textual editor, he has produced Edward III (Shakespeare and others) and The Book of Sir Thomas More, by Munday, Chettle, Dekker, Heywood, Shakespeare and others, for The Norton Shakespeare 3, ed. Stephen Greenblatt et al. (W.W. Norton, 2015).

Brian Walsh bgwalsh@bu.edu Visiting Associate Professor of English at Boston University, is the author of two monographs. Unsettled Toleration: Religious Difference on the Shakespearean Stage (Oxford UP, 2016) and Shakespeare, the Queen's Men, and the Elizabethan Performance of History (Cambridge UP, 2009, pb, 2013); Walsh has edited a collection of essays on The Revenger’s Tragedy (Bloomsbury 2016) as part of the Arden Early Modern Drama Guides, and wrote several articles on the drama of Shakespeare and his contemporaries, including 'Theatrical Temporality and Historical Consciousness in The Famous Victories of Henry V', Theatre Journal, and '"Deep Prescience": Succession and the Politics of Prophecy in Friar Bacon and Friar Bungay', Medieval and Renaissance Drama in England. He is currently researching and writing about “Global” Shakespeare films.

Will West w-west@northwestern.edu teaches early modern drama, poetry, and prose at Northwestern University. West is the author of Theatres and Encyclopedias in Early Modern Europe (CUP, 2002; pbk. 2006) and, As If: Essays in As You Like It (punctum, 2016). He has written articles or chapters on the life cycles of early modern players across Europe, and on theater as the creation of contexts He is currently a Trustee of the Shakespeare Association of America and chair of the Department of Classics at Northwestern. With Jeffrey Masten, he is the co-editor of the journal Renaissance Drama and currently at work on a book called Understanding and Confusion in the Elizabethan Theaters.

Paul Whitfield White pwhite@purdue.edu specializes in Shakespeare, medieval drama, and early modern drama and literature. His publications include recent articles on the Chester Cycle, Elizabethan Arthurian drama, and Robert Wilson’s plays, as well as the books Drama and Religion in English Provincial Society, 1485-1660; Theatre and Reformation: Protestantism, Patronage, and Playing in Tudor England; Marlowe, History, and Sexuality: New Critical Essays on Christopher Marlowe (edited collection); and Shakespeare and Theatrical Patronage in Early Modern England, collected and co-edited with Suzanne R. Westfall.

The Editors

Plays  Editors  Affiliation
Clyomon and Clamydes

Dimitry Senyshyn (text)
Arleane Ralph (diss. 1996)
Noam Lior (performance)

University of Toronto REED
University of Toronto
University of Toronto

The Famous Victories of Henry V

Mathew Martin (mod. text)
Karen Marsalek (orig. text)
Peter Cockett (performance)

St Olaf's College MN
Brock University
McMaster University

Friar Bacon and Friar Bungay

Christopher Matusiak (text)
Peter Cockett (performance)

Ithaca College
McMaster University

The History of King Leir

Andrew Griffin (text)
Peter Cockett (performance)

UC Santa Barbara
McMaster University

The Old Wives Tale

Nely Keinanen (text)
Peter Cockett (performance)

University of Helsinki
McMaster University

Selimus Kirk Melnikoff (text) UNC Charlotte
The Three Ladies of London

Chantelle Thauvette (text Q2 1592)
Jessica Dell (text Q1 1584)
Erin Julian (performance)

Siena College, NY
Aurora College, NWT
Western

The Three Lords and
Three Ladies of London

Paul Whitfield White (text)
Bryan Nakawaki (performance)

Purdue University
Purdue University

The Troublesome Reign
of King John

Karen Oberer (orig. text)
Matt Williamson (mod. text)
Oliver Jones (performance)

McGill University
University of Cumbria
University of York

The True Tragedy of
Richard III

Toby Malone (text)
Jennifer Roberts-Smith (performance)

Oswego College, New York
University of Waterloo

Peter Cockett. Please refer to Queen's Men Editorial Board.

Jessica Dell Jdell@auroracollege.nt.ca (Three Ladies of London, Q1 1584) defended her doctoral dissertation, ‘Vanishing Acts: Absence, Gender, and Magic in Early Modern Drama, 1558-1642’, in September 2014 at McMaster University. In 2016, she became a full-time instructor at Aurora College (NWT) in the Bachelor of Education program which partners with the University of Saskatchewan and the Indian Teacher Education Program (ITEP). Recent publications include ‘‘A witch, a quean, an old cozening quean!’: Image Magic and Shakespeare’s The Merry Wives of Windsor’ in Magical Transformations on the Early Modern English Stage (2014) and, with David Klausner and Helen Ostovich, co-edited The Chester Cycle in Context, 1555–1575: Religion, Drama, and the Impact of Change (2012).

Andrew Griffin. Please refer to Queen's Men Editorial Board.

Oliver Jones oliver.jones@york.ac.uk (Troublesome Reign of King John. performance) is Lecturer in Theatre at the Department of Theatre, Film and Television, University of York. His doctoral thesis combined theatre history, archaeological survey, and performance-as-research methodologies to investigate the Queen's Men and the guildhall of Stratford-upon-Avon, and created a site-specific performance and video of The Troublesome Reign of King John. As Postdoctoral Research Fellow at Shakespeare's Globe, now a member of the Globe's Architectural Research Group, he undertook preparations for the Sam Wanamaker Playhouse. With Michael Cordner he has produced stagings of John Marston's The Dutch Courtesan (www.dutchcourtesan.co.uk) and associate-directed James Shirley's Hyde Park. Recent publications appear in Shakespeare Bulletin and Andrew Gurr and Farah Karim-Cooper (eds), Moving Shakespeare Indoors (CUP, 2014).

Erin Julian ejulian@uwo.ca (Three Ladies of London, performance) completed her SSHRC-funded dissertation (‘Laughing Matters: Sexual Violence in Jacobean and Caroline Comedy’) in English and Cultural Studies in 2014 at McMaster. She currently holds a SSHRC Postdoctoral Fellowship at Western University (‘Rape Under Erasure in Early/Modern Shakespeare’). Her recent publications include ‘Review Essay: New Directions in Jonson Criticism’ for Early Theatre 17.1 (2014) and (co-authored with Helen Ostovich) ‘Pedagogical and Web Resources’ in Julian and Ostovich (eds), The Alchemist: A Critical Reader (Bloomsbury, 2013). She is also co-editor of The Dutch Courtesan for the Complete Works of John Marston (OUP, forthcoming).

Nely Keinanen nely.keinanen@helsinki.fi (Old Wives' Tale, text) teaches at the University of Helsinki, Finland. Most recently she edited a special issue of Synteesi on Shakespeare in Finland (2016), and was a co-organizer of the conference Shakespeare and Scandinavia (Kingston, 2015). Other edited books include Shakespeare in Finland (with Maria Salenius in Finnish, 2010), and The Authority of Expression (2009). She has translated over 25 Finnish plays into English, and recently completed her first play.

Noam Lior noam.lior@mail.utoronto.ca (Clyomon and Clamydes, performance) is a doctoral student at the University of Toronto, and has dramaturged and directed plays by Shakespeare, Webster, and Marivaux as well as developing productions of new Canadian plays. For the past several years, he has specialized in staging delightfully obscure early modern plays for the Drama Centre and PLS; recently the anonymous Clyomon and Clamydes, the (differently) anonymous New Custom, and Robert Daborne’s A Christian Turn’d Turk (produced in conjunction with the Jackman Humanities conference Early Modern Migrations: Exiles, Expulsion, & Religious Refugees, 1400-1700). He is the co-developer of Shakespeare at Play, an app combining digital editions of Shakespearean plays with embedded video performances which he co-directed, dramaturged, edited, and annotated.

Matt Williamson matthew.williamson@ilos.uio.no(Troublesome Reign of King John. modern text edn) is Senior Lecturer in British Literature at the Department of Literature, Area Studies and European Languages, University of Oslo. His doctoral thesis is entitled ‘Hunger, Appetite and the Politics of the Renaissance Stage’. It argues that issues of plenty and excess were, for an early modern audience, inseparable from problems of scarcity and want, and that as a consequence the dramatic representation of hunger and appetite acquired a unique significance as both subject and medium of political debate. In 2017, he was the Presiding Scholar for a season of staged readings of plays by Philip Massinger, at Shakespeare’s Globe in London. He has forthcoming articles in Shakespeare, the journal of the British Shakespeare Association, and To Feast on Us as Their Prey: Cannibalism in the Early Modern Atlantic, ed. Rachel Herrmann (University of Arkansas Press).

Toby Malone toby.malone@oswego.edu (True Tragedy of Richard III, modern text) is Assistant Professor of Theatre History and Criticism, and head of Dramaturgy at the State University of New York at Oswego. His scholarship centres on historiography, parallel text analysis, and Shakespeare in performance. He holds a PhD from the University of Toronto and held a post-doctoral fellowship at the University of Waterloo.  His publications include Shakespeare Survey, Literature-Film Quarterly, Canadian Theatre Review, The Routledge Companion to Dramaturgy, Borrowers and Lenders, and a recently co-authored book on the adaptation of War Horse for Palgrave Macmillan.

Karen Marsalek marsalek@stolaf.edu (Famous Victories of Henry V, early modern text) is an associate professor of English at St. Olaf College. She has edited, directed and performed in several early English plays. Her publications include essays on “true” resurrections in medieval drama and The Winter’s Tale, “false” resurrections in the Chester Antichrist and 1 Henry IV, and theatrical properties of skulls and severed heads. Her current research is on remains and revenants in the King’s Men’s repertory.

Mathew R. Martin mmartin@brocku.ca (Famous Victories of Henry V, modern text) is Professor of English at Brock University. He is the author of two books, Between Theatre and Philosophy: Skepticism in the Major City Comedies of Ben Jonson and Thomas Middleton (2001) and Tragedy and Trauma in the Plays of Christopher Marlowe (2015). He has edited five of Marlowe’s seven plays for Broadview Press; is currently editing The Massacre at Paris for Revels Editions; and will be editing Dido, Queen of Carthage for Digital Renaissance Editions. His Revels edition of George Peele’s David and Bathsheba will be forthcoming in 2018.

Christopher Matusiak cmatusiak@ithaca.edu (Friar Bacon and Friar Bungay) is an Associate Professor of English at Ithaca College in New York where he teaches courses on Shakespeare and early modern drama. His research on seventeenth-century theatre management at the Drury Lane Cockpit has appeared in Early Theatre and Medieval and Renaissance Drama in England, and he has an article forthcoming in Shakespeare Quarterly on the use of John Aubrey’s manuscripts in studies of Shakespeare’s life. He is currently writing a book (with Eva Griffith) about Christopher Beeston and the Cockpit playhouse, and researching another on the persistence of illegal stage-playing during the English Civil Wars.

Kirk Melnikoff kbmelnik@uncc.edu (Selimus) is an associate professor in the department of English at the University of North Carolina at Charlotte. He is the author of Elizabethan Book Trade Publishing and the Makings of Literary Culture (Toronto, 2018) and has edited four collections: Christopher Marlowe, Theatrical Commerce and the Book Trade (CUP, 2018 [with Roslyn L. Knutson]); Edward II: A Critical Reader (Arden, 2017); Robert Greene (Ashgate, 2011); and Writing Robert Greene (Ashgate, 2008 [with Edward Gieskes]). He has edited Greene's James IV for Routledge's Anthology of Non-Shakespearean Drama (2019) and his essays have appeared in many journals and collections.

Bryan Nakawaki bnakawak@purdue.edu (Three Lords and Three Ladies of London, performance) is a graduate candidate in the department of English at Purdue University. Along with Paul Whitfield White, he is co-editing a digital edition of Robert Wilson's The Three Lords and Three Ladies of London for Queen's Men Editions. He was a performer and dramaturgical assistant for Purdue's production of The Three Lords and Three Ladies of London, performed at the University of Toronto in June 2015 alongside Three Ladies of London.

Karen Oberer kobererphd@gmail.com (Troublesome Reign of King John, early modern text) completed her doctoral dissertation on stock types in Shakespeare's history plays at McGill University, where she also taught courses and participated in the Shakespeare and the Queen's Men performance research team. She contributed an essay "Appropriations of the Popular Tradition in The Famous Victories of Henry V and The Troublesome Raigne of King John" in Helen Ostovich, Holger Schott Syme, and Andrew Griffin (eds), Locating the Queen’s Men, 1583-1603 (Ashgate, 2009). She currently works as a student affairs advisor at McGill University, Montreal.

Arleane Ralph (Clyomon and Clamydes, text) completed her dissertation, a modern critical edition of the Queen’s Men play Clyomon and Clamydes, at the University of Toronto in 1996. She works for the Records of Early English Drama as well as running her own business as a copy editor and indexer.

Jennifer Roberts-Smith. Please refer to Queen's Men Advisory Board.

Dimitry Senyshyn dimitry.senyshyn@gmail.com (Clyomon and Clamydes, text) has current research focusing on Shakespeare's tragicomic romances and their relation to a native tradition of popular romance. He has co-edited an old-spelling edition of The True Tragedie of Richard the Third for QME with Jennifer Robert-Smith. He contributed to the preparation of the REED Inns of Court volume, and he has published in Theatre Research in Canada, Early Theatre, and the Encyclopedia of the Bible and its Reception.

Chantelle Thauvette cthauvette@siena.edu (Three Ladies of London 1592 Q2 text) completed her PhD in English and Cultural Studies, 2013, at McMaster, with a Doctoral Diploma in Gender Studies and Feminist Research. She has published a book chapter in Magic, Marriage, and Midwifery: Eroticism in the Middle Ages and the Renaissance (Turnhout: Brepols, 2014), and articles in SEL: Studies in English Literature, The Journal for Early Modern Cultural Studies. and The Journal for Early Modern Cultural Studies, and has presented papers at interdisciplinary early modern conferences including the Renaissance Society of America, the Canadian Society for Renaissance Studies, Shakespeare Association of America, and the Society for the Study of Early Modern Women.

Paul Whitfield White. Please refer to Queen's Men Advisory Board.

Katrine Wong kwong@umac.mo (Three Ladies of Macau, 2016) is associate professor in the department of English at the University of Macau and assistant conductor, Coro Perosi, Macau. She is an Associate of the Higher Education Academy.Her main research interests are music in theatre and Renaissance drama. She has recently finished a project ‘Shakespeare, Music, and Stage: A Theatrical Discourse in RSC Productions (1960-2006)’, funded by the UM Research Committee. Additional publications include Music and Gender in English Renaissance Drama (New York, 2013); and ‘Witches and Their Power and Agency in Brett Bailey’s Macbeth (2014)’, Adaptation, 10.2 (2017): 262-83.