This unique and comprehensive study reviews the practice of leading American directors of Shakespeare from the late nineteenth to the end of the twentieth century. Charles Ney examines rehearsal and production records, as well as evidence from diaries, letters, autobiographies, reviews and photographs to consider each director's point of view when approaching Shakespeare and the differing directorial tools and techniques employed in significant productions in their careers. Directors covered include Augustin Daly, David Belasco, Arthur Hopkins, Orson Welles, Margaret Webster, B. Iden Payne, Angus Bowmer, Craig Noel, Jack O'Brien, Tyronne Guthrie, John Houseman, Allen Fletcher, Michael Kahn, Gerald Freedman, Joseph Papp, Stuart Vaughan, A. J. Antoon, JoAnne Akalaitis, Paul Barry, Tina Packer, Barbara Gaines, William Ball, Liviu Ciulei, Garland Wright, Mark Lamos, Ellis Rabb and Julie Taymor. Directing Shakespeare in America: Historical Perspectives offers readers an understanding of the context from which contemporary practitioners operate, the aesthetic philosophies to which they subscribe and a description of their rehearsal methods.

Without William Shakespeare, we wouldn’t have literary masterpieces like Romeo and Juliet. But without Henry Condell and John Heminges, we would have lost half of Shakespeare’s plays forever! After the death of their friend and mentor, the two actors are determined to compile the First Folio and preserve the words that shaped their lives. They’ll just have to borrow, beg, and band together to get it done. Amidst the noise and color of Elizabethan London, THE BOOK OF WILL finds an unforgettable true story of love, loss, and laughter, and sheds new light on a man you may think you know.

One of the New York Times Ten Best Books of the Year • A National Book Critics Circle Award Finalist • A New York Times Notable Book A timely exploration of what Shakespeare’s plays reveal about our divided land. “In this sprightly and enthralling book . . . Shapiro amply demonstrates [that] for Americans the politics of Shakespeare are not confined to the public realm, but have enormous relevance in the sphere of private life.” —The Guardian (London) The plays of William Shakespeare are rare common ground in the United States. For well over two centuries, Americans of all stripes—presidents and activists, soldiers and writers, conservatives and liberals alike—have turned to Shakespeare’s works to explore the nation’s fault lines. In a narrative arching from Revolutionary times to the present day, leading scholar James Shapiro traces the unparalleled role of Shakespeare’s four-hundred-year-old tragedies and comedies in illuminating the many concerns on which American identity has turned. From Abraham Lincoln’s and his assassin, John Wilkes Booth’s, competing Shakespeare obsessions to the 2017 controversy over the staging of Julius Caesar in Central Park, in which a Trump-like leader is assassinated, Shakespeare in a Divided America reveals how no writer has been more embraced, more weaponized, or has shed more light on the hot-button issues in our history.

Thinking Shakespeare gives theater artists practical advice about how to make Shakespeare’s words feel spontaneous, passionate, and real. Based on Barry Edelstein’s thirty-year career directing Shakespeare’s plays, this book provides the tools that artists need to fully understand and express the power of Shakespeare’s language.

An anthology that traces how Shakespeare has shaped American history and culture—featuring pieces by Founding Fathers, Orson Welles, and other noteworthy figures “The history of Shakespeare in America,” writes James Shapiro in his introduction to this groundbreaking anthology, “is also the history of America itself.” Shakespeare was a central, inescapable part of America’s literary inheritance, and a prism through which crucial American issues—revolution, slavery, war, social justice—were refracted and understood. In tracing the many surprising forms this influence took, Shapiro draws on many genres—poetry, fiction, essays, plays, memoirs, songs, speeches, letters, movie reviews, comedy routines—and on a remarkable range of American writers from Emerson, Melville, Lincoln, and Mark Twain to James Agee, John Berryman, Pauline Kael, and Cynthia Ozick. Americans of the revolutionary era ponder the question “to sign or not to sign;” Othello becomes the focal point of debates on race; the Astor Place riots, set off by a production of Macbeth, attest to the violent energies aroused by theatrical controversies; Jane Addams finds in King Lear a metaphor for American struggles between capital and labor. Orson Welles revolutionizes approaches to Shakespeare with his legendary productions of Macbeth and Julius Caesar; American actors from Charlotte Cushman and Ira Aldridge to John Barrymore, Paul Robeson, and Marlon Brando reimagine Shakespeare for each new era. The rich and tangled story of how Americans made Shakespeare their own is a literary and historical revelation. As a special feature, the book includes a foreword by Bill Clinton, among the latest in a long line of American presidents, including John Adams, John Quincy Adams, and Abraham Lincoln, who, as the collection demonstrates, have turned to Shakespeare’s plays for inspiration.

The professional Yiddish theatre started in 1876 in Eastern Europe; with the assassination of Tsar Alexander II in 1881, masses of Eastern European Jews began moving westward, and New York—Manhattan’s Bowery and Second Avenue—soon became the world’s center of Yiddish theatre. At first the Yiddish repertoire revolved around comedies, operettas, and melodramas, but by the early 1890s America's Yiddish actors were wild about Shakespeare. In Shakespeare on the American Yiddish Stage, Joel Berkowitz knowledgeably and intelligently constructs the history of this unique theatrical culture. The Jewish King Lear of 1892 was a sensation. The year 1893 saw the beginning of a bevy of Yiddish versions of Hamlet; that year also saw the first Yiddish production of Othello. Romeo and Juliet inspired a wide variety of treatments. The Merchant of Venice was the first Shakespeare play published in Yiddish, and Jacob Adler received rave reviews as Shylock on Broadway in both 1903 and 1905. Berkowitz focuses on these five plays in his five chapters. His introduction provides an orientation to the Yiddish theatre district in New York as well as the larger picture of Shakespearean production and the American theatre scene, and his conclusion summarizes the significance of Shakespeare’s plays in Yiddish culture.

Shakespeare scholar James Shapiro explains when and why so many people began to question whether Shakespeare wrote his plays.