Podcasts about Othello

Teaching Shakespeare's Theatre of the World (Cambridge University Press, 2025) engages with one of Shakespeare's greatest thought-experiments: How does one navigate the 'theatre of the world'? It invites students to examine how Shakespeare challenges this metaphor's vertical hierarchies in response to shifting understandings of cosmological order. Teachers will find rich contextual frameworks for exploring how Shakespeare envisions 'worlds' as emerging from dynamic variables, raising urgent questions about how identity and justice are environmentally constructed. Focal plays include A Midsummer Night's Dream, As You Like It, Hamlet, Henry V, The Merchant of Venice, and Othello. Each discussion features student centered 'Explorations'. These play-specific classroom activities can also be adapted across Shakespeare's corpus and tailored for both secondary and university-level students. These exercises encourage non-linear critical and creative thinking, inviting students to contemplate big ideas and generate new perspectives about the shared points of contact between Shakespeare's world and their own. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Teaching Shakespeare's Theatre of the World (Cambridge University Press, 2025) engages with one of Shakespeare's greatest thought-experiments: How does one navigate the 'theatre of the world'? It invites students to examine how Shakespeare challenges this metaphor's vertical hierarchies in response to shifting understandings of cosmological order. Teachers will find rich contextual frameworks for exploring how Shakespeare envisions 'worlds' as emerging from dynamic variables, raising urgent questions about how identity and justice are environmentally constructed. Focal plays include A Midsummer Night's Dream, As You Like It, Hamlet, Henry V, The Merchant of Venice, and Othello. Each discussion features student centered 'Explorations'. These play-specific classroom activities can also be adapted across Shakespeare's corpus and tailored for both secondary and university-level students. These exercises encourage non-linear critical and creative thinking, inviting students to contemplate big ideas and generate new perspectives about the shared points of contact between Shakespeare's world and their own. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/education

Teaching Shakespeare's Theatre of the World (Cambridge University Press, 2025) engages with one of Shakespeare's greatest thought-experiments: How does one navigate the 'theatre of the world'? It invites students to examine how Shakespeare challenges this metaphor's vertical hierarchies in response to shifting understandings of cosmological order. Teachers will find rich contextual frameworks for exploring how Shakespeare envisions 'worlds' as emerging from dynamic variables, raising urgent questions about how identity and justice are environmentally constructed. Focal plays include A Midsummer Night's Dream, As You Like It, Hamlet, Henry V, The Merchant of Venice, and Othello. Each discussion features student centered 'Explorations'. These play-specific classroom activities can also be adapted across Shakespeare's corpus and tailored for both secondary and university-level students. These exercises encourage non-linear critical and creative thinking, inviting students to contemplate big ideas and generate new perspectives about the shared points of contact between Shakespeare's world and their own.

Award-winning actor and activist Wendell Pierce shares why he challenged himself to an annual acting trifecta as he stars in three major productions this year: the classic Shakespeare play Othello, Tom Clancy's Jack Ryan: Ghost War, and the CBS police procedural Elsbeth.Become a supporter of this podcast: https://www.spreaker.com/podcast/tavis-smiley--6286410/support.

***⁠⁠⁠⁠Complete our⁠ listener survey⁠ for a chance to win a $50 gift card!⁠⁠⁠ *** “We Gave Everything We Had”: Actor Randall Duk Kim and Director Annie Occhiogrosso reflect on their lives as artists, creating American Players Theater, how much you can learn from studying “Hamlet” over fifty years, what it takes to be great, where to find the best audiences in the country, how strawberries and chocolate can make all the difference on Press Day, the importance of language, what Keanu Reeves reads between takes, how Laurence Fishburne found his way into “Othello”, why every actor should start a theater, being Asian on an island, how Edwin Booth, Walt Whitman and a slaughtered lamb all played a part in bringing world class productions to a town of 1,200 people in rural Wisconsin, why it's important to plant the seeds of inspiration in young people if we want to have any hope for our future, and much, much more! Learn more about your ad choices. Visit megaphone.fm/adchoices

For the latest Whisper in the Wings from Stage Whisper, we welcomed back on the actors Will Watkins, Clayton Hamburg, and Leah Schwartz from Atlas Shakespeare Company's Othello. These fantastic artists sat down with us and shared some inspired insight and brilliant ideas regarding this iconic Shakespearean drama. So be sure that you tune in and get your tickets now for this fantastic production!Atlas Shakespeare Company Presents OthelloJune 16th-28th@ The Abrons Arts Center Tickets and more information are available at abronsartscenter.org And be sure to follow our guests to stay up to date on all their upcoming projects and productions: atlasshakespearecompany.com@atlasshakespeare@shroomerhasitleah-schwartz.com@_itsjustleah_williamoliverwatkins.com@wowatkings

 Listen to the Show Right Click to Save GuestsPenfold Theatre Company VincentAustin Playhouse Seared What We Talked About Rent 30th to stream Extentions? – Jellicle Ball (extends) Largest grossing B'way season Chrissy metz B'way Debut Awake and Sing Othello in DC Girls Girls Chance Chance Music Music Buena Vista Social Club – West End Free copy of Giant Drag Queen Christmas Tour The Last Ship in the West End Thank you to Dean Johanesen, lead singer of "The Human Condition" who gave us permission to use "Step Right Up" as our theme song, so please visit their website.. they're good! (that's an order)  

Alan sits down with Broadway producer Brian Anthony Moreland for a candid, high-energy conversation about the realities of commercial theatre. Brian shares the fascinating story of how he caught the theatre bug playing Santa Claus in the third grade , his formative years at a performing arts boarding school , and his early career as a non-union dancer dealing with the exhausting audition grind in New York City. He opens up about the pivotal moment he decided to pivot to producing, starting with a grueling five-and-a-half-year journey to bring Thoughts of a Colored Man to Broadway. Alan and Brian pull back the curtain on the industry's economic pressures, debating Broadway financials, escalating production costs, and what it truly takes to balance commercial viability with meaningful, artistic storytelling. The conversation centers deeply on Brian's extraordinary relationship with the work of August Wilson. He recalls the serendipitous train ride to Pittsburgh that led to him producing the record-breaking revival of The Piano Lesson , and how Denzel Washington personally asked him to lead-produce his next Wilson project. Brian breaks down the profound themes of identity, healing, and family preservation driving his latest production at the Barrymore Theatre, Joe Turner's Come and Gone, sharing delightful insights into working with legendary director Debbie Allen and the joyful, nurturing energy that stars Taraji P. Henson and Cedric the Entertainer bring to the rehearsal room. Finally, Brian takes on the 60-second plot challenge, pitches a classic musical, and reflects on the timeless power of theatre as a space where you can be anything. Brian Anthony Moreland is a transformative Broadway producer dedicated to shaping the contemporary cultural landscape through visionary, inclusive storytelling. Originally from California, he began his career as a performer before transitioning into producing. His impressive Broadway repertoire includes the ground-breaking global hit Othello starring Denzel Washington and Jake Gyllenhaal, the record-breaking revival of August Wilson's The Piano Lesson, The Wiz, The Lifespan of a Fact, Sea Wall / A Life, and The Sound Inside. A respected industry leader, Moreland serves on the Board of Governors of The Broadway League, where he co-chairs the Multicultural Task Force. He also holds leadership roles as a Trustee for Broadway Cares/Equity Fights AIDS, a Trustee of The American Academy of Dramatic Arts, a Board Director for NYC Tourism and Conventions, and is an active member of the Theatre Development Fund (TDF). Connect with Brian: IG: @therealbrianmoreland Connect with The Theatre Podcast: Support the podcast on Patreon and watch video versions of the episodes: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Patreon.com/TheTheatrePodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@theatre_podcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook.com/OfficialTheatrePodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TheTheatrePodcast.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Alan's personal Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@alanseales⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Email me at feedback@thetheatrepodcast.com. I want to know what you think. Learn more about your ad choices. Visit megaphone.fm/adchoices

Join me (Anna Stone) and guest host Brooke Zapata as we discuss William Shakespeare's Othello and the 2001 film adaptation "O". In this episode, we share why a 2000s North Carolina boarding school is the perfect modern setting, admit our own shortcomings when jealousy is involved, and consider whether some of the changes were beneficial or not. Follow on Instagram @stonestoptensEmail stonestoptens@gmail.com KeywordsOthello, Shakespeare, film adaptation, jealousy, racism, character analysis, modern relevance, classic literature, cultural commentary, storytelling film analysis, violence in media, teen drama, bullying, racism, sexual assault, coaching styles, character performance, fashion trends, Shakespeare adaptation Othello, film adaptation, character analysis, cultural commentary, modern casting, soundtrack, narrative choices, film critique, themes, storytelling

Episode 217:‘King Lear', the play that is now often regarded as Shakespeare's finest and deepest work is most often compared to the other two great tragedies of this period in Shakespeare's writing, ‘Hamlet' and ‘Othello', and of course there are thematic comparisons that can be made with those plays, but it has to be pointed out that ‘King Lear' is also a very different play in tone and structure. Whether we rate ‘King Lear' as Shakespeare's best play or not it is a play that has deeply affected audiences and critics through the centuries and I can only imagine the mark it leaves on actors who take on the main roles. Sadly, what we lack is much detail about initial reactions to the play.The early performance and publishing history of the playThe influences and sources for the playThe opening scene of the play and the abandonment of the natural orderThe questions of judgement and miscommunication in the playThe character of GonerilEdmund as one of Shakespeare's truly evil charactersKent as the voice of reason and loyaltyLear and the Fool in the stormLear's moral awakeningSupport the podcast at:www.thehistoryofeuropeantheatre.comwww.patreon.com/thoetpwww.ko-fi.com/thoetpYou can find an advertisement free version of the latest podcast episodes by joining on Patreon at the lowest paid tier level – that's for just £1 per month. Hosted on Acast. See acast.com/privacy for more information.

Tom Vasel gives his opinions on games in the middle of the Board Game Geek rankings.

Welcome to The B-Side! Here we talk about movie stars! Not the movies that made them famous or kept them famous, but the ones that they made in between.  Today we talk about a truly underrated star: Laurence Fishburne! Our B-Sides include: Bad Company, Fled, Hoodlum, and Biker Boyz. Conor and guest host Mitchell Beaupre discuss Fishburne's early work, his movie star run (the mid-90s, of which three of our B-Sides are a part of!), and the roles he passed on over the years.  They debate whether or not Kevin Hooks' Fled (a ‘90s take on The Defiant Ones) is worth the watch, if Oliver Parker's Othello works as a movie, and that other time Fishburne played a character based on famous gangster Bumpy Johnson (that would be Francis Ford Coppola's underrated The Cotton Club). There's a celebration of Bill Duke's directorial career (the legendary actor made Hoodlum and also Deep Cover, both starring Fishburne) and a conversation about Biker Boyz internal conflict in being a Fast & Furious movie.

Othello May 19, 2026 “What's he, then, that says I play the villain?” Few questions more clearly reveal where each of us stands in today's deeply polarized society. Recorded on the eve of a profoundly tense moment in global geopolitics, we speak with Eric Tucker and Bedlam discussing their critically acclaimed four-person production of Othello, running through May 31 in New York City. Click here for information about Othello

BUY TICKETS TO DOPEY SHORT FILM FESTIVAL: https://buytickets.at/thedopeyfoundation/2216905 Join Patreon For Cheap Tickets and much more: www.patreon.com/dopeypodcast Long Summary Notes: Dave opens the Dopey Total Replay by revisiting Episode 27, “Detox Withdrawal,” one of the earliest foundational episodes of Dopey. He explains how the episode introduced both graphic designer Ryan — creator of the iconic nodding Dopey logo — and Todd Curry, Dave's longtime using buddy who would later die in 2018, just weeks before Chris. Dave reflects on Chris's original idea for a “Dopey Stories” book made up of listener submissions and stories from the show. He talks about failed attempts to pitch the project to publishers and wonders whether self-publishing a Dopey book on Amazon might finally make sense. He invites listeners to resend their best stories to dopeypodcast@gmail.com. Disclaimer: I think I called Spanish People Stupid - but it was meant totally with love. Dave then shifts into a recap of Music on the Mountain in Vermont, where he attended with Linda and the kids. He talks about seeing Anders Osborne, Daniel Donato, Jackie Greene, Karina Rykman, Eggy, Lamp, and others. Susan celebrates her eighth birthday and hilariously insists on introducing bands onstage after Dave lets her introduce Karina Rykman. Dave admits Susan might actually be a better MC than him. Dave promotes the upcoming Dopey Short Film Festival at the SVA Theater, mentioning Mountainside as a possible title sponsor and joking about Katz's desserts and Othello cookies potentially being involved. He reads Patreon and Spotify comments reacting to the previous replay episode, including discussion of Rush, Basketball Diaries, Knicks playoff hopes, bread basket addiction, and people missing Chris. Dave goes on multiple tangents about bread, fitness, the Knicks, and Cleveland versus Detroit. The replay itself begins with Chris and Dave just starting to record when Todd randomly calls in. Todd immediately launches into a story about getting arrested while allegedly trying to buy weed in a housing project. Chris and Dave immediately question the story while Todd insists he was only trying to buy marijuana. The conversation spirals into stories about community service, Delancey Street cleanup duty, reverse discrimination jokes, airport profiling, Todd's history with Dave, and their years selling drugs together. Chris openly campaigns for Todd to become a recurring Dopey guest while Dave resists because Todd is still actively using heroin and weed. Graphic designer Ryan joins the conversation and explains why he loved Dopey from the beginning — because it wasn't a traditional recovery podcast. He says recovery shows felt too church-like, while Dopey mixed active addiction stories with recovery in a way that could actually reach addicts. Todd and Dave argue about whether active users should appear on Dopey. Ryan attempts to sober coach Todd live on the air, asking him what heroin does for him emotionally. Todd admits heroin covers feelings of loneliness, insecurity, and self-hatred. He describes failed relationships, yoga classes, women, and using heroin to cope with emotional pain. Ryan explains the basics of abstinence and recovery while Todd half-jokes and half-confesses his inability to stop using. Chris mostly eggs the entire thing on while enjoying the chaos. The episode shifts into stories about Mountainside and the infamous “Phase Four” extended-care house. Ryan explains how he entered treatment planning only to save money for heroin afterward, but somehow ended up getting sober instead. Dave admits he originally thought Ryan would never stay sober, while Dave himself eventually relapsed despite appearing more serious about recovery at the time. Ryan tells wild detox stories involving escaping treatment during withdrawal, trading a $2,500 laptop for heroin bundles, walking through snowstorms, and eventually landing at Mountainside. The group discusses relapse, sobriety, AA sponsorship disasters, yoga, heroin addiction, and the randomness of getting sober. The episode eventually devolves into jokes about Dave's disgusting toenail, Instagram photos, podcast structure, and arguments about whether episodes should be one hour long. Chris insists on ending every episode with “Good So Bad,” while Dave complains nobody wants long podcasts — ironic considering modern Dopey episodes often run three hours. Back in present-day narration, Dave reflects emotionally on hearing Todd and Chris together again. He reveals that Todd eventually appeared on Dopey multiple times, including once when he left mid-recording to go downstairs and shoot heroin before returning to finish the episode high. Dave closes by talking about Ryan's later recovery work at Berkshire Transition Network and how foundational he was to early Dopey. He reflects on the pain, foreshadowing, and innocence captured in the episode before ending with “Good So Bad” and a tribute to Chris and Todd. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Coming this June - after a little break to recover from the end of King Lear, we shall begin a journey through Shakespeare's Othello. I hope you'll join me.

This week's episode of Radio Night Live Fun Friday! is a fun-filled celebration of all things New York, from Broadway, to sports, dance and more. Kevin & Cristyne share their excitement about the upcoming Subway Series, a classic rivalry between the Mets and the Yankees, and the 20th Annual Dance Parade, a vibrant event that's free and open to everyone. Meanwhile, they also highlight some fantastic performances and events happening in the city, including a Broadway play and an air show. This episode is a great mix of sports, culture, and community, with Kevin & Cristyne sharing their enthusiasm for the city's many offerings. They chat about the history of the Subway Series and the Mayor's Trophy, a unique competition that was popular before interleague play began. They also give a shout-out to a talented dancer who will be performing in the Dance Parade, and highlight some exciting events happening in the city, including a Broadway play and an air show. Kevin also takes a moment to acknowledge the achievements of Cristyne, who has been recognized with a prestigious award for her contributions to tourism in New York City. It's a heartwarming moment that adds a touch of warmth to the episode. If you're looking for a dose of New York City spirit, this episode is a must-listen. Join Kevin & Cristyne as they explore the city's many wonders, from Broadway, sports, to dance and beyond. Don't miss this fun and lively conversation that's all about the best of New York. FUN FRIDAY GUEST BRIAN ANTHONY MORELAND, FOUNDER OF B-MORE NOW PRODUCTIONS AND PRODUCER OF JOE TURNER'S COME AND GONE. Brian spoke about his latest production of Joe Turner's Come & Gone. The show has been nominated for FIVE Tony Awards (Best Featured Actor for Ruben Santiago-Hudson for his portrayal of Bynum Walker, Best Costume Design by Paul Tazewell, Lighting Design, Sound Design, and Original Score) Brian Anthony Moreland recently made waves on Broadway as a producer of the groundbreaking revival of Othello, starring Denzel Washington and Jake Gyllenhaal, and directed by Tony Award-winner Kenny Leon. The production shattered box office records, becoming the highest-grossing play in global history.  WEBSITES:  www.bmorenowproductions.com; www.joeturnerbway.com  FUN FRIDAY GUEST CHRIS O'BRIEN, PRESIDENT OF SAIL4TH 250. Chris was a featured panelist at the Broadway Association's May luncheon, focused on “summer in the city”. Chris speaks about what to expect during the Tall Ships parade this July. DATES OF SAIL4TH 250: July 3 through July 8th, 2026 (rain or shine!) WEBSITE: www.sail4th.org  Go to ThatPassportLife.com to see how you can win a free trip for two to Italy! Hang out with Kevin McCullough of ThatKEVINShow; Aimee McCullough of C'est Si Bon, Linda Perillo of Radio Night Live: Travel Tuesday (daughter of the great, Mario Perillo of Perillo Tours); & Cristyne L. Nicholas of Radio Night Live: Fun Friday!

Othello – Act I scene 2 The newly married Othello is warned against the threat of his father-in-law, and urgently sought after by two search parties.

 Listen to the Show Right Click to Save GuestsJarrott Productions DestinationAustin Shakespeare Much Ado About NothingBroadway in Austin The Wiz What We Talked About Book of Mormon Outer Critics Circle Awards Hamlet & Othello Participation Fees? B-Roll in performances? Paranormal Activity Adrienne Warren in Proof Rent 30th anniversary concertThank you to Dean Johanesen, lead singer of "The Human Condition" who gave us permission to use "Step Right Up" as our theme song, so please visit their website.. they're good! (that's an order)  

Othello is really into a new Netflix show that takes a SHOCKING turn. IDM checks in with The DAWGZ to see what jokes they're slinging and wonders if having intercourse with pregnant women is abnormal.

Our guest today is Sir Lenny Henry, the pioneering comedian, entertainer, actor and campaigner, who tells Gyles his story, and it's an impressive one: from the streets of Dudley in the West Midlands, to winning New Faces at only 16 years old, to an acclaimed run as Othello at the West Yorkshire Playhouse. Lenny brings his childhood home to life - his mother, a gifted preacher who came to the UK from Jamaica, and whose formidable personality was a huge influence on Lenny. His dads - Winston and Uncle Albert. The "tall food". The park. The mood board on his bedroom wall. This is an evocative, fascinating and very funny edition of Rosebud.This episode was recorded at Riverside Studios in Hammersmith in London, in front of a live audience, as part of Riverside's 50th birthday celebrations.Lenny Henry is on tour nationwide, tickets are available here.Don't forget to subscribe to our YouTube here. Join The Rosebud Family here. And visit our website here. Hosted on Acast. See acast.com/privacy for more information.

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A century after Shakespeare's death, his words were in danger of being forgotten. While plays like King Lear and Othello still played to packed houses across England, audiences saw only the bowdlerized versions—censored, rewritten, and stripped of anything that could be considered distasteful. How, then, did Shakespeare's original works re-emerge? Thank the Shakespeare Ladies Club, a group of influential women who rescued his reputation(and his double entendres) from obscurity. In their book, The Shakespeare Ladies Club: The Forgotten Women Who Saved the Bawdy Bard, Christine and Jonathan Hainsworth uncover the club's unsung contributions to Shakespeare's legacy. Thanks to the Hainsworths, Westminster Abbey has now officially recognized the Shakespeare Ladies Club for their campaign to memorialize Shakespeare in Poets' Corner. But, they reveal, the club's influence goes even deeper than that. In this episode, Christine and Jonathan Hainsworth shine a light on this remarkable group of women and how they made Shakespeare the cultural icon he is today.

In the eighteenth century, Samuel Johnson famously argued that Shakespeare is enduringly popular because he “is above all writers, at least above all modern writers, the poet of nature; the poet that holds up to his readers a faithful mirror of manners and of life.” Johnson's view largely prevailed until the late twentieth century, when it was challenged by a growing scepticism about the existence of a general human nature. In Thinking Through Shakespeare (Princeton UP, 2026), eminent literary critic David Womersley pushes back against this change by exploring how Shakespeare's plays think through—and invite us to think through—deep human questions of lasting importance.Thinking Through Shakespeare explores four perennial human problems: personal identity, the distinction between civilization and barbarism, the relation between political power and religious authority and the tension between means and ends. It examines the history of these problems, from antiquity to today, and traces how Shakespeare engages with them in the great tragedies—Othello, Hamlet, Macbeth and King Lear—but also in his other plays. Without arguing that human nature is universal or unchanging, or that Shakespeare has some special access to timeless wisdom, the book makes the case that his drama is powerful because it serves as a forensic tool, probing rival perspectives on questions that have preoccupied many people in many societies over many centuries.By revealing in new ways how Shakespeare's plays are animated and driven by central human problems, and why he should again be viewed as the great poet of human nature, Thinking Through Shakespeare opens up a richer understanding and appreciation of his work. David Womersley is the Thomas Warton Professor of English Literature at the University of Oxford. His books include Divinity and State, Gibbon and the “Watchmen of the Holy City” and The Transformation of the Decline and Fall of the Roman Empire. He is also the editor of many books, including the Penguin Classics editions of Gibbons's Decline and Fall of the Roman Empire, Boswell's Life of Samuel Johnson and David Hume's complete essays. He is a Fellow of the British Academy and of the Royal Historical Society. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube Channel: here Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In the eighteenth century, Samuel Johnson famously argued that Shakespeare is enduringly popular because he “is above all writers, at least above all modern writers, the poet of nature; the poet that holds up to his readers a faithful mirror of manners and of life.” Johnson's view largely prevailed until the late twentieth century, when it was challenged by a growing scepticism about the existence of a general human nature. In Thinking Through Shakespeare (Princeton UP, 2026), eminent literary critic David Womersley pushes back against this change by exploring how Shakespeare's plays think through—and invite us to think through—deep human questions of lasting importance.Thinking Through Shakespeare explores four perennial human problems: personal identity, the distinction between civilization and barbarism, the relation between political power and religious authority and the tension between means and ends. It examines the history of these problems, from antiquity to today, and traces how Shakespeare engages with them in the great tragedies—Othello, Hamlet, Macbeth and King Lear—but also in his other plays. Without arguing that human nature is universal or unchanging, or that Shakespeare has some special access to timeless wisdom, the book makes the case that his drama is powerful because it serves as a forensic tool, probing rival perspectives on questions that have preoccupied many people in many societies over many centuries.By revealing in new ways how Shakespeare's plays are animated and driven by central human problems, and why he should again be viewed as the great poet of human nature, Thinking Through Shakespeare opens up a richer understanding and appreciation of his work. David Womersley is the Thomas Warton Professor of English Literature at the University of Oxford. His books include Divinity and State, Gibbon and the “Watchmen of the Holy City” and The Transformation of the Decline and Fall of the Roman Empire. He is also the editor of many books, including the Penguin Classics editions of Gibbons's Decline and Fall of the Roman Empire, Boswell's Life of Samuel Johnson and David Hume's complete essays. He is a Fellow of the British Academy and of the Royal Historical Society. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube Channel: here Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

In the eighteenth century, Samuel Johnson famously argued that Shakespeare is enduringly popular because he “is above all writers, at least above all modern writers, the poet of nature; the poet that holds up to his readers a faithful mirror of manners and of life.” Johnson's view largely prevailed until the late twentieth century, when it was challenged by a growing scepticism about the existence of a general human nature. In Thinking Through Shakespeare (Princeton UP, 2026), eminent literary critic David Womersley pushes back against this change by exploring how Shakespeare's plays think through—and invite us to think through—deep human questions of lasting importance.Thinking Through Shakespeare explores four perennial human problems: personal identity, the distinction between civilization and barbarism, the relation between political power and religious authority and the tension between means and ends. It examines the history of these problems, from antiquity to today, and traces how Shakespeare engages with them in the great tragedies—Othello, Hamlet, Macbeth and King Lear—but also in his other plays. Without arguing that human nature is universal or unchanging, or that Shakespeare has some special access to timeless wisdom, the book makes the case that his drama is powerful because it serves as a forensic tool, probing rival perspectives on questions that have preoccupied many people in many societies over many centuries.By revealing in new ways how Shakespeare's plays are animated and driven by central human problems, and why he should again be viewed as the great poet of human nature, Thinking Through Shakespeare opens up a richer understanding and appreciation of his work. David Womersley is the Thomas Warton Professor of English Literature at the University of Oxford. His books include Divinity and State, Gibbon and the “Watchmen of the Holy City” and The Transformation of the Decline and Fall of the Roman Empire. He is also the editor of many books, including the Penguin Classics editions of Gibbons's Decline and Fall of the Roman Empire, Boswell's Life of Samuel Johnson and David Hume's complete essays. He is a Fellow of the British Academy and of the Royal Historical Society. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube Channel: here Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

In the eighteenth century, Samuel Johnson famously argued that Shakespeare is enduringly popular because he “is above all writers, at least above all modern writers, the poet of nature; the poet that holds up to his readers a faithful mirror of manners and of life.” Johnson's view largely prevailed until the late twentieth century, when it was challenged by a growing scepticism about the existence of a general human nature. In Thinking Through Shakespeare (Princeton UP, 2026), eminent literary critic David Womersley pushes back against this change by exploring how Shakespeare's plays think through—and invite us to think through—deep human questions of lasting importance.Thinking Through Shakespeare explores four perennial human problems: personal identity, the distinction between civilization and barbarism, the relation between political power and religious authority and the tension between means and ends. It examines the history of these problems, from antiquity to today, and traces how Shakespeare engages with them in the great tragedies—Othello, Hamlet, Macbeth and King Lear—but also in his other plays. Without arguing that human nature is universal or unchanging, or that Shakespeare has some special access to timeless wisdom, the book makes the case that his drama is powerful because it serves as a forensic tool, probing rival perspectives on questions that have preoccupied many people in many societies over many centuries.By revealing in new ways how Shakespeare's plays are animated and driven by central human problems, and why he should again be viewed as the great poet of human nature, Thinking Through Shakespeare opens up a richer understanding and appreciation of his work. David Womersley is the Thomas Warton Professor of English Literature at the University of Oxford. His books include Divinity and State, Gibbon and the “Watchmen of the Holy City” and The Transformation of the Decline and Fall of the Roman Empire. He is also the editor of many books, including the Penguin Classics editions of Gibbons's Decline and Fall of the Roman Empire, Boswell's Life of Samuel Johnson and David Hume's complete essays. He is a Fellow of the British Academy and of the Royal Historical Society. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube Channel: here

In the eighteenth century, Samuel Johnson famously argued that Shakespeare is enduringly popular because he “is above all writers, at least above all modern writers, the poet of nature; the poet that holds up to his readers a faithful mirror of manners and of life.” Johnson's view largely prevailed until the late twentieth century, when it was challenged by a growing scepticism about the existence of a general human nature. In Thinking Through Shakespeare (Princeton UP, 2026), eminent literary critic David Womersley pushes back against this change by exploring how Shakespeare's plays think through—and invite us to think through—deep human questions of lasting importance.Thinking Through Shakespeare explores four perennial human problems: personal identity, the distinction between civilization and barbarism, the relation between political power and religious authority and the tension between means and ends. It examines the history of these problems, from antiquity to today, and traces how Shakespeare engages with them in the great tragedies—Othello, Hamlet, Macbeth and King Lear—but also in his other plays. Without arguing that human nature is universal or unchanging, or that Shakespeare has some special access to timeless wisdom, the book makes the case that his drama is powerful because it serves as a forensic tool, probing rival perspectives on questions that have preoccupied many people in many societies over many centuries.By revealing in new ways how Shakespeare's plays are animated and driven by central human problems, and why he should again be viewed as the great poet of human nature, Thinking Through Shakespeare opens up a richer understanding and appreciation of his work. David Womersley is the Thomas Warton Professor of English Literature at the University of Oxford. His books include Divinity and State, Gibbon and the “Watchmen of the Holy City” and The Transformation of the Decline and Fall of the Roman Empire. He is also the editor of many books, including the Penguin Classics editions of Gibbons's Decline and Fall of the Roman Empire, Boswell's Life of Samuel Johnson and David Hume's complete essays. He is a Fellow of the British Academy and of the Royal Historical Society. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube Channel: here Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/british-studies

Composer Lindsay Jones sits down for a brand new Film.Music.Media conversation! Lindsay is a composer, sound designer, performer and educator who works across all media. Lindsay has worked across film, TV, theater, podcasts, and audiobooks. He recently won a 2025 Webby Award for Original Music and Sound Design for Othello, which is part of Next Chapter Podcasts' Play On Shakespeare series. *This interview was recorded the day before he won. A Film.Music.Media Production | Produced & Presented by Kaya Savas

Send us Fan MailS6: E4: Jyotsna G. Singh on Shakespeare, Postcoloniality, and Global InterconnectednessFor a complete episode transcript, http://www.womenandshakespeare.comInterviewer and Producer: Varsha PanjwaniGuest: Jyotsna G. SinghTranscript: Benjamin PooreArtwork: Wenqi WanSuggested Citation:  Singh, Jyotsna G. in conversation with Panjwani, Varsha (2026). S6: E4: Jyotsna G. Singh on Shakespeare, Postcoloniality, and Global Interconnectedness.Women & Shakespeare [podcast], Series 6, Ep.4. http://womenandshakespeare.com/Insta: earlymoderndocEmail: earlymoderndoc@gmail.com

Jackson and Jacob discuss Paula Vogel's play on "Othello." "Desdemona, A Play About a Handkerchief" (great title!) explores the behind-the-scenes action of "Othello." It contains Vogel's characteristic humor and irreverence, while also asking important questions about our relationship to Shakespeare's famous play. Listen in! ------------------------------ Please consider supporting us on Patreon. For as low as $1/month, you can help to ensure the No Script Podcast can continue.  https://www.patreon.com/noscriptpodcast  ----------------------------- We want to keep the conversation going! Have you read this play? Have you seen it? Comment and tell us your favorite themes, characters, plot points, etc. Did we get something wrong? Let us know. We'd love to hear from you. Find us on social media at:  Email: noscriptpodcast@gmail.com Facebook: https://www.facebook.com/No-Script-The-Podcast-1675491925872541/ Instagram: https://www.instagram.com/noscriptpodcast/ Twitter: https://twitter.com/noscriptpodcast/ ------------------------------ Thanks so much for listening! We'll see you next week.

Today we're diving into the incredible, globe-spanning journey of Julee Cerda, who traded the high-energy grind of New York City's Broadway stages for a new life in London. From booking a major nine-episode arc on Blindspot after taping an audition in a camping cabin, to landing a coveted role in Othello alongside legends like Denzel Washington and Jake Gyllenhaal, she opens up about navigating a thriving career while raising a family. Julee also shares hilarious and high-stakes audition stories, including running late to her very first major TV audition… and still booking the job. It's a candid, inspiring conversation about trusting your instincts, embracing the chaos, and finding truth on both stage and screen. These are the unforgettable stories that landed Julee Cerda right here. Credits: Blindspot The Mighty Ducks: Game Changers SOLO MIO Descendants: Rise of the Red Orange is the New Black Vacation Friends 2 Homeland Maintenance Required NCIS: New Orleans FBI Billions Descendants The Intern Manifest Nurse Jackie Guest Links: IMDB: Julee Cerda, Actress THAT ONE AUDITION'S LINKS: For exclusive content surrounding this and all podcast episodes, sign up for our amazing newsletter at AlyshiaOchse.com. And don't forget to snap and post a photo while listening to the show and tag me: @alyshiaochse & @thatoneaudition SELF-TAPE MAY CLASS: Starting May 7th - FREE What's My Frame APRIL PUBLIC POP UP: April 24th - $25 THE BRIDGE FOR ACTORS: Become a WORKING ACTOR - 50% THE PRACTICE TRACK: Membership to Practice Weekly CONSULTING: Get 1-on-1 advice for your acting career from Alyshia Ochse COACHING: Get personalized coaching from Alyshia on your next audition or role INSTAGRAM: @alyshiaochse INSTAGRAM: @thatoneaudition WEBSITE: AlyshiaOchse.com APPLE PODCASTS: Subscribe to That One Audition on Apple Podcasts SPOTIFY: Subscribe to That One Audition on Spotify STITCHER: Subscribe to That One Audition on Stitcher EPISODE CREDITS: HOST/PRODUCER: Alyshia Ochse WRITER: Maddie McCormick WEBSITE & GRAPHICS: Chase Jennings SOCIAL: Alara Cerikcioglu

Dans L'Apocalypse d'Adam et Aimée, Adama Diop poursuit son travail de création et revisite l'œuvre fondatrice du poète, Aimé Césaire, Cahier d'un retour au pays natal. Le père, Adam, figure tutélaire, fatiguée, crépusculaire, raconte l'apocalypse à sa fille, Aimée. Pour ce faire, il reprend parfois les mots d'Aimé, le grand Césaire. Un baisser de rideau pour l'humanité, écrit et incarné par Adama Diop, qui se joue actuellement au Théâtre du Rond-Point.   Être la bouche des malheurs qui n'ont point de bouche Le spectacle se construit sur des échos : ‘Aimée' rappelle ‘Aimé', Adama est ‘Adam', le premier homme qui est aussi le dernier, et qui est encore l'interprète présent devant son public. Les voix de tous se prolongent, se répondent et se confondent. Adama Diop évoque un « rapport presque radiophonique à dire de la littérature ». Sur scène, Adama Diop porte un costume brodé de fleurs rouges et déclame dans un décor minimaliste, où la nature reprend progressivement ses droits. Il parle pour le végétal menacé, pour les espèces animales disparues, et la poésie perdue. À travers sa lecture, Adama Diop explique avoir voulu permettre à la poésie de reprendre ses droits sur le plateau de théâtre. L'Apocalypse d'Adam et Aimée est une pièce qu'il qualifie plutôt de « grand poème », poème qui rend hommage à un autre : le Cahier d'un retour au pays natal.   Genèse d'un récit de la fin des temps Au commencement, il y a donc le Cahier de Césaire, œuvre indomptable qui le suit depuis l'adolescence. Au commencement, il y a aussi une commande du musée de l'Orangerie à Adama Diop pour un texte sensé être lu in situ, avec en toile de fond les nymphéas de Monet. Les peintures de Monet sont symptomatiques d'une frénésie de dire le monde, dans laquelle se reconnait Diop. La civilisation déchue qu'il décrit est un peu la nôtre, documentée dans tous ses excès, le point de bascule dépassé.   Entre retour et renoncement, fin et recommencement Pour Adama Diop, l'Apocalypse n'est pas juste la fin du monde. « L'Apocalypse, c'est aussi une révélation », rappelle-t-il. L'effondrement d'une société devient le moment de prise de conscience qui permet d'envisager le monde d'après, celui qui se dessine par-delà les décombres. On pourrait même épouser l'embrasement de « mini-apocalypses pour laisser place à des mondes plus ouverts, plus justes. » C'est bien la fin des temps qui permet au futur d'advenir. Si Adam ressasse le passé, Aimée est l'avenir, un futur au féminin. Elle assure la préservation de sa lignée et la survie de l'humanité...  Le texte est à retrouver aux éditions Actes sud.  Invité : Adama Diop, auteur, comédien et metteur en scène, né à Dakar, au Sénégal. Il se forme à partir de 2002 à l'ENSAD de Montpellier puis au CNSAD de Paris. En 2016, il est révélé dans la pièce-fleuve 2666 de Julien Gosselin.  En 2018, il tient le rôle-titre dans Macbeth de Stéphane Braunschweig. En 2021, le rôle de Ermolaï dans la Cerisaie mis en scène par Tiago Rodrigues. En 2022, il est Othello dans la mise en scène de Jean-François Sivadier.  En 2021, Diop crée au Sénégal l'« École internationale d'acteurs et d'actrices de Dakar » (EIAD), un lieu dédié à la formation et à la professionnalisation des comédiens et comédiennes issus de tout le continent africain. En 2024, il met en scène Fajar ou l'Odyssée de l'homme qui rêvait d'être poète.  L'Apocalypse d'Adam et Aimée est sa deuxième mise en scène.    Programmation musicale :  Les artistes Meryl feat Umpa avec le titre Lajen.

Dans L'Apocalypse d'Adam et Aimée, Adama Diop poursuit son travail de création et revisite l'œuvre fondatrice du poète, Aimé Césaire, Cahier d'un retour au pays natal. Le père, Adam, figure tutélaire, fatiguée, crépusculaire, raconte l'apocalypse à sa fille, Aimée. Pour ce faire, il reprend parfois les mots d'Aimé, le grand Césaire. Un baisser de rideau pour l'humanité, écrit et incarné par Adama Diop, qui se joue actuellement au Théâtre du Rond-Point.   Être la bouche des malheurs qui n'ont point de bouche Le spectacle se construit sur des échos : ‘Aimée' rappelle ‘Aimé', Adama est ‘Adam', le premier homme qui est aussi le dernier, et qui est encore l'interprète présent devant son public. Les voix de tous se prolongent, se répondent et se confondent. Adama Diop évoque un « rapport presque radiophonique à dire de la littérature ». Sur scène, Adama Diop porte un costume brodé de fleurs rouges et déclame dans un décor minimaliste, où la nature reprend progressivement ses droits. Il parle pour le végétal menacé, pour les espèces animales disparues, et la poésie perdue. À travers sa lecture, Adama Diop explique avoir voulu permettre à la poésie de reprendre ses droits sur le plateau de théâtre. L'Apocalypse d'Adam et Aimée est une pièce qu'il qualifie plutôt de « grand poème », poème qui rend hommage à un autre : le Cahier d'un retour au pays natal.   Genèse d'un récit de la fin des temps Au commencement, il y a donc le Cahier de Césaire, œuvre indomptable qui le suit depuis l'adolescence. Au commencement, il y a aussi une commande du musée de l'Orangerie à Adama Diop pour un texte sensé être lu in situ, avec en toile de fond les nymphéas de Monet. Les peintures de Monet sont symptomatiques d'une frénésie de dire le monde, dans laquelle se reconnait Diop. La civilisation déchue qu'il décrit est un peu la nôtre, documentée dans tous ses excès, le point de bascule dépassé.   Entre retour et renoncement, fin et recommencement Pour Adama Diop, l'Apocalypse n'est pas juste la fin du monde. « L'Apocalypse, c'est aussi une révélation », rappelle-t-il. L'effondrement d'une société devient le moment de prise de conscience qui permet d'envisager le monde d'après, celui qui se dessine par-delà les décombres. On pourrait même épouser l'embrasement de « mini-apocalypses pour laisser place à des mondes plus ouverts, plus justes. » C'est bien la fin des temps qui permet au futur d'advenir. Si Adam ressasse le passé, Aimée est l'avenir, un futur au féminin. Elle assure la préservation de sa lignée et la survie de l'humanité...  Le texte est à retrouver aux éditions Actes sud.  Invité : Adama Diop, auteur, comédien et metteur en scène, né à Dakar, au Sénégal. Il se forme à partir de 2002 à l'ENSAD de Montpellier puis au CNSAD de Paris. En 2016, il est révélé dans la pièce-fleuve 2666 de Julien Gosselin.  En 2018, il tient le rôle-titre dans Macbeth de Stéphane Braunschweig. En 2021, le rôle de Ermolaï dans la Cerisaie mis en scène par Tiago Rodrigues. En 2022, il est Othello dans la mise en scène de Jean-François Sivadier.  En 2021, Diop crée au Sénégal l'« École internationale d'acteurs et d'actrices de Dakar » (EIAD), un lieu dédié à la formation et à la professionnalisation des comédiens et comédiennes issus de tout le continent africain. En 2024, il met en scène Fajar ou l'Odyssée de l'homme qui rêvait d'être poète.  L'Apocalypse d'Adam et Aimée est sa deuxième mise en scène.    Programmation musicale :  Les artistes Meryl feat Umpa avec le titre Lajen.

Episode 211:Through the last few episodes on Shakespeare's plays, we seem to have seen a playwright in a serious mood, even when he was writing comedies. ‘Twelfth Night' and ‘Measure For Measure' are often referred to as having an autumnal tone, something serious underlying the comedy and of course we also have the even darker worlds of the tragedies of ‘Hamlet' and ‘Othello'. The next play we come to from Shakespeare fits well into this group, but I choose my words carefully there because I can't say for sure that ‘All's Well That Ends Well' was his ‘next' play after ‘Measure For Measure' as the dating of this comedy is difficult.The dating of the playThe sources for the playA brief summary of the plotHow Shakespeare subverts the original folk tale into a comedyIrony in the playThe two sides of the character of HelenWhat does Helen see in Bertram?The role reversal between Helen and BertramThe character of BertramThe bed trickThe character of ParolasSome examples of criticism of the playThe performance history of the playSupport the podcast at:www.thehistoryofeuropeantheatre.comwww.patreon.com/thoetpwww.ko-fi.com/thoetpYou can find an advertisement free version of the latest podcast episodes by joining on Patreon at the lowest paid tier level – that's for just £1 per month. Hosted on Acast. See acast.com/privacy for more information.

In Shakespeare's Othello, the Second Senator in Act One warns of a Turkish fleet bearing down on Cyprus. Later in that same scene, the Duke of Venice remarks, "The Turk with a most mighty preparation makes for Cyprus. Othello, the fortitude of the place is best known to you." References to Cyprus appear again and again throughout the dialogue—calling attention to wars, naval battles, and the conflicts surrounding the island, including, as Iago puts it, the struggle between "grounds Christian and heathen." Shakespeare places Othello in Cyprus at a moment of extreme tension. In the play, the island has just faced an imminent invasion by the Ottoman Turks. The Venetian fleet is mobilized, generals are dispatched, and Cyprus is on high alert. It makes for an exciting story—but what's even more compelling is that the setting Shakespeare chose mirrors real history almost exactly. In 1570 and 1571, Cyprus—then a Venetian possession—was attacked by the Ottoman Empire. The final and most famous stronghold was a city called Famagusta, whose siege became infamous across Europe. For Shakespeare's audience, Cyprus under Turkish threat was not fictional—it was recent news. When Othello opens with fears of invasion, Shakespeare is tapping into a collective memory of terror and loss that was still emotionally raw. To help us explore how the play connects to the real history Shakespeare's audience would have recognized immediately, I'm delighted to welcome our guest today, Michael Walsh.

Quand on évoque le box-office, on pense plus au cinéma, aux États-Unis, on imagine "Titanic", "Avatar" plutôt que "Hamlet" et "Othello". Eh bien, on se trompe et ça on l'a découvert en octobre 2011 à Londres, bien loin d'Hollywood donc ! Dans "Ah Ouais ?", Florian Gazan répond en une minute chrono à toutes les questions essentielles, existentielles, parfois complètement absurdes, qui vous traversent la tête. Un podcast RTL Originals.Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Shakespeare wrote every word of his plays with the firm expectation that the female parts would be acted by men or boys. No female was allowed to act in a public theater. That would be shockingly indecent. In England, that expectation was dashed in a 1660 production of Othello. We know for sure that Desdemona was played by a woman. We're just not sure which woman it was. This episode explains how English theater came to accept women on the stage. Visit the ⁠⁠⁠⁠website⁠⁠⁠⁠ (herhalfofhistory.com) for sources, transcripts, and pictures. This show survives on the support of listeners like you. Support the show on my ⁠⁠⁠⁠⁠Patreon page⁠⁠⁠ (https://www.patreon.com/user?u=83998235) for ad-free episodes, bonus episodes, and polls. Or make a one-time donation on ⁠⁠⁠⁠⁠Buy⁠⁠⁠⁠ ⁠⁠⁠⁠Me a Coffee⁠⁠. Your support helps me keep bring the stories of past women into the present. Join ⁠⁠⁠Into History⁠⁠⁠ for a community of ad-free history podcasts plus bonus content. Visit ⁠⁠⁠Evergreen Podcasts⁠⁠⁠ to listen to more great shows. Follow me on ⁠⁠⁠Threads⁠⁠⁠ as Her Half of History. Learn more about your ad choices. Visit megaphone.fm/adchoices

  Angel Morales steps in to co-host after Blue Shorts lands in the hospital with a broken nose and multiple facial fractures. Othello shares the shocking photo that rocked the IDM group chat, while saving the wildest details for the Patreon. Angel debuts his controversial Panama hat from Old San Juan and gets roasted by the chat. The guys also cover Lana Del Rey marrying a Louisiana gator tour guide, the great ankle socks vs. crew socks debate, and the death of OnlyFans founder Leo Radvinsky at 43. Plus, Angel delivers his first-ever live sponsor read for Dream Stay Getaways, Puerto Rico travel tips for Rincon, and the usual Big Time P1 shoutouts. Follow IDM on Twitter, Instagram, and TikTok Patreon (3 episodes a week): patreon.com/idmpod Sponsors: Dream Stay Getaways: dreamstaygetaways.com | @dreamstaygetaways on Instagram | Mention IDM for 10% off The Clifton Plumber: thecliftonplumber.com | 703-501-1926 | Mention IDM for 10% off

Episode 207 Whereas the larger-than-life characters in ‘Othello' left us with no moral ambiguities, but plenty of questions about the nature of the outsider and society's attitude towards those who are different. Shakespeare's next offering, ‘Measure for Measure' was a very different piece with few of those certainties.The dating and earliest performance of the playThe early print history of the playChanges made by Thomas MiddletonThe source material for the playA brief synopsis of the playComedy of Tragicomedy?Issues with the structure of the playJustice and mercyThe premise of the play examinedHow the characters avoid easy categorisationThe role of the dukeThe role of IsabellaThe role of AngeloThe role of LucioThe ending of the play and Isabella's response to the dukeThe mixed critical response to the playThe later performance history of the playMeasure for Measure on filmSupport the podcast at:www.thehistoryofeuropeantheatre.comwww.patreon.com/thoetpwww.ko-fi.com/thoetp Hosted on Acast. See acast.com/privacy for more information.

In this episode, Dr. David Puder is joined by forensic psychiatrist Dr. Michael Cummings, who has spent his career at the world's largest forensic state hospital, and child psychiatrist Dr. Blaire Heath, to examine how fixed false beliefs, or delusions, can lead to aggression and violence. Each guest brings their expertise to discuss the major delusion types most associated with harm in forensic settings, including persecutory, Capgras (impostor syndrome involving loved ones), Cotard's ("I am dead"), erotomanic, jealous (Othello syndrome), somatic, and referential delusions.  The episode covers practical clinical tools, including the Simple Delusional Syndrome Scale and Brown Assessment of Beliefs Scale, the role of clozapine in reducing violence risk, and the use of cognitive behavioral therapy to create psychological "escape routes" by treating delusions as testable hypotheses. Modern risks are also addressed, including how AI chatbots and algorithms can reinforce and amplify delusional thinking and contribute to emerging cases of AI-related psychosis.  By listening to this episode, you can earn 1.5 Psychiatry CME Credits. Link to blog Link to YouTube video

Othello – Introduction We begin our 20th series with some first impressions, a rundown of our methods, a list of resources, some history, and what to expect from one of Shakespeare's greatest tragedies.

The 90s was full of so many things! Music, fashion, technology, and Shakespeare?!? Yeah that's right kids, this isn't your grandma's English class, we're bringing tragedy into the modern era! This version of Othello made the most conniving character imaginable, a teenage boy who is just okay at basketball, but is fantastic at ruining multiple people's lives seemingly just for the fun of it! It just goes to show you, even the best of people can have their basketball careers and relationships destroyed, just by one dude with an evil grin and an even more evil mind!Research Links:Broey Deschanel: When Shakespeare Got Coolhttps://www.youtube.com/watch?v=2KZgIOje85Q&t=1sPodcast Link: https://sho-dependent.captivate.fm/listenSocials!Instagram: https://www.instagram.com/shodependentpod/TikTok: https://www.tiktok.com/@shodependentpod

Many readers turn to Shakespeare for the beauty of his language or the power of his stories. But in Thinking Through Shakespeare, Oxford scholar David Womersley suggests that the plays offer something else as well: a way of exploring some of the deepest questions about human life. Womersley looks at tragedies like Othello, Hamlet, Macbeth, and King Lear to show how Shakespeare places audiences inside difficult moral and philosophical problems. The plays raise questions about identity, power, and the tension between doing what is right and doing what is personally advantageous. Rather than presenting clear answers, Shakespeare lets these ideas collide on stage. In this episode, Womersley explains how Shakespeare's plays become what he calls “crucibles” for thinking. As characters struggle with competing values and impossible choices, audiences go on that journey with them—testing ideas, reconsidering assumptions, and confronting the same enduring dilemmas that have shaped human thought for centuries.

Episode 206Last time I discussed the dating and sources for Shakespeare's tragedy ‘Othello', the early performance history, and some points about the structure and poetry in the play. Then I took you through the first part of the play, up to the point where Iago had managed to sow seeds of doubt into Othello's mind about the constancy of women and get his professional rival Michael Cassio so drunk and fired up that he got involved in a brawl with the town governor and is demoted. In doing so I looked at the characters of Iago, Brabantio and Cassio, so on this occasion listening to that episode is essential before starting on this one. If you need to do that as soon as you are back, I will be picking up from exactly where I left off last time.The character and expected role of EmeliaThe relationship of Emelia and DesdemonaThe character of Bianca and the Venetian courtesanHow Bianca contrasts with DesdemonaConflicting views of the character of DesdemonaThe character of OthelloThe play as a tragedy of Greek proportionsThe disintegration of Othello from strong leader to murdererOthello as a social disruptorThe ‘noble savage' Vs the veneer of sophisticationThe role of resentment and honour in the playLater performances of the playSome very selected criticism of the playSupport the podcast at:www.thehistoryofeuropeantheatre.comwww.patreon.com/thoetpwww.ko-fi.com/thoetp Hosted on Acast. See acast.com/privacy for more information.

Episode 205:Last time Ben Jonson's retelling of a slice of Roman Imperial history failed to impress at the Globe theatre. As an actor in that play Shakespeare had first-hand experience of the way the audience in the theatre could turn on the poet and the players alike, but it is difficult to think that his confidence in his own work was much dented by the experience. His next play ‘The Tragedy of Othello, The Moor of Venice' is, I would say, brim full of the confidence of an experienced playwright who knew that his play would both entertain on several levels and provoke much thought in the audience.The dating and first performance of the playThe early publication history of the playDetails from a performance in 1610The source material for the playThe structure of the playThe significance of Venice and CyprusThe structural balances in the playThe poetry and imagery in the playThe use of language as a dramatic techniqueThe urgency of the opening of the playThe character of Iago and how he manipulates his victimsThe character of BrabantioWhat the Elizabethan audience might have thought of a ‘moor'Queen Elizabeth's attitude to immigrants from AfricaHow Shakespeare handled the racial aspects of the playThe character of Micheal CassioSupport the podcast at:www.thehistoryofeuropeantheatre.comwww.patreon.com/thoetpwww.ko-fi.com/thoetp Hosted on Acast. See acast.com/privacy for more information.

Brian Moreland recently made waves on Broadway as a producer of the groundbreaking revival of Othello, starring Denzel Washington and Jake Gyllenhaal, and directed by Tony Award winner Kenny Leon. The production shattered box office records, becoming the highest-grossing play revival in global history. His impressive repertoire includes the Broadway revival of The Wiz, starring Wayne Brady and Deborah Cox; August Wilson's The Piano Lesson, directed by LaTanya Richardson Jackson and starring Samuel L. Jackson, Danielle Brooks, and John David Washington — which became the highest-grossing revival of the season; The Lifespan of a Fact, featuring Cherry Jones, Daniel Radcliffe, and Bobby Cannavale; Sea Wall / A Life, a moving dual narrative with Jake Gyllenhaal and Tom Sturridge; and The Sound Inside, a compelling drama headlined by Mary-Louise Parker. Hailing from California, Brian now calls New York City home, where he continues to shape the cultural landscape through his visionary storytelling and unwavering passion for the performing arts. His dedication to accessibility and equity in theatre is reflected in his active role with the Theatre Development Fund (TDF), an organization committed to expanding access to live performance. A respected leader within the industry, Brian serves on the Board of Governors of The Broadway League, where he also co-chairs the Multicultural Task Force, advocating for greater diversity and inclusion across the theatre community. He also holds leadership roles as a Board Director for NYC Tourism and Conventions, a Trustee of Broadway Cares/Equity Fights AIDS, and a Trustee of The American Academy of Dramatic Arts, where he helps support and guide the next generation of performing artists. In recognition of his impactful contributions, Brian has been honored with the Board of Directors Distinguished Service Award by the Audelco Awards and acknowledged by the Theatre Communications Group (TCG) for his continued service to the field. Through his compelling productions and steadfast leadership, Moreland has established himself as a transformative force in contemporary theatre. His work not only entertains but also uplifts and challenges audiences, enriching the cultural narrative with stories that reflect the depth, diversity, and complexity of the human experience.Joe Turner's Come and Gone is lead produced by Brian Anthony Moreland with casting by ARC Casting. 101 Productions, Ltd. is serving as general managers.For additional information, please sign up at www.JoeTurnerBway.comConnect with Brian Anthony Moreland:Website: https://www.bmorenowproductions.com/ Instagram: https://www.instagram.com/therealbrianmoreland/?hl=en TurnKey Podcast Productions Important Links:Guest to Gold Video Series: www.TurnkeyPodcast.com/gold The Ultimate Podcast Launch Formula- www.TurnkeyPodcast.com/UPLFplusFREE workshop on how to "Be A Great Guest."Free E-Book 5 Ways to Make Money Podcasting at www.Turnkeypodcast.com/gift Ready to earn 6-figures with your podcast? See if you've got what it takes at TurnkeyPodcast.com/quizSales Training for Podcasters: https://podcasts.apple.com/us/podcast/sales-training-for-podcasters/id1540644376Nice Guys on Business: http://www.niceguysonbusiness.com/subscribe/The Turnkey Podcast: https://podcasts.apple.com/us/podcast/turnkey-podcast/id1485077152

Whitney White is a theatrical powerhouse. A director, writer, actor, and musician, White's work has been seen on Broadway, Off Broadway, and at major institutions including The Public Theater, the Brooklyn Academy of Music, and, most recently, the Royal Shakespeare Company. Her projects include Jaja's African Hair Braiding, The Last Five Years, Macbeth in Stride, and By The Queen, which was featured in the Folger's 2025 Reading Room Festival. In this episode, White discusses All Is But Fantasy, her four-play musical cycle created for the RSC, where it's now receiving its world premiere. The high-energy, gig-theater show investigates Shakespeare's women and ambition, focusing on Lady Macbeth, Emilia, Juliet, and Richard III. Each piece combines performance with original music, using sound and rhythm as a way into the text and as a tool for rethinking these characters whose inner lives are often cut short or overlooked. White reflects on why Shakespeare's women so often meet tragic ends, how those stories continue to feel familiar, and what it means to keep staging them now. She considers the ways that music, performance, and adaptation can help us better understand Shakespeare today. From the Shakespeare Unlimited podcast. Published February 10, 2026. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica, with Garland Scott serving as executive producer. It was edited by Gail Kern Paster. Technical support was provided by Melvin Rickarby in Stratford, England, and Voice Trax West in Studio City, California. Web production was handled by Paola García Acuña. Transcripts are edited by Leonor Fernandez. Final mixing services were provided by Clean Cuts at Three Seas, Inc. Whitney White is an Obie and Lily Award-winning and Tony Award-nominated director, actor, and musician, celebrated for her bold, innovative storytelling across both Broadway and off-Broadway. She recently received the Drama League's 2025 Founders Award for Excellence in Directing and an Obie Award for Sustained Achievement in Directing. All Is But Fantasy, White's four-part musical exploration of Shakespeare's women and ambition, commissioned by the Royal Shakespeare Company, marks her RSC debut as a writer, director, and actor. The two-part high-energy gig theater show is receiving its world premiere at The Other Place in Stratford-upon-Avon in January and February 2026. White's other directing credits on Broadway include The Last Five Years and Jaja's African Hair Braiding, off-Broadway credits include Liberation, Walden, Jordan's, Soft, On Sugarland, What to Send Up When It Goes Down, Our Dear Drug Lord, and For All the Women Who Thought They Were Mad. She recently opened Saturday Church, a new musical featuring songs by Sia and Honey Dijon at New York Theatre Workshop. She also created Macbeth In Stride at Brooklyn Academy of Music, writing the book, music and lyrics. Additional directing work includes The Secret Life of Bees, By The Queen, The Spectacularly Lamentable Trial of Miz Martha Washington, A Human Being of a Sort, An Iliad, The Amen Corner, Othello, Canyon, and Jump. On screen, White has appeared in Ocean's Eight, Single Drunk Female, Louie, and The Playboy Club, and she contributed as a writer to Boots Riley's acclaimed series I'm A Virgo for Prime Video.

Best known for her role as Queen Charlotte in Bridgerton, Golda Rosheuvel is an acclaimed actor of stage and screen. Her career spans powerful theatrical roles including Romeo and Juliet, Jesus Christ Superstar and a groundbreaking lesbian interpretation of Othello. She also stars in the spin-off series Queen Charlotte: A Bridgerton Story. In this conversation, Golda speaks movingly about her childhood and family: how her mother, a white social worker, met her father, a Guyanese Anglican priest, by chance at a choir rehearsal in Jamaica. She reflects on discovering she was dyslexic, navigating rejection, experiencing racism, struggling with motivation - and even failing an early audition for Bridgerton. Plus: why representation is so important. ✨ IN THIS EPISODE: 00:00 Introduction 04:12 Impact of Representation and Public Recognition 08:39 Challenges with Dyslexia 21:15 Navigating Identity and Belonging 28:10 Professional Challenges and Identity 29:08 Casting and Industry Feedback 29:47 Facing Rejection and Overcoming Setbacks 30:32 Failed Auditions and Lessons Learned 31:45 Challenges of Racial Identity in Theatre 34:04 Progress in Representation and Diversity 35:35 Reflecting on Parental Influence 38:58 Navigating Personal and Professional Identity 40:36 Struggles with Exercise and Motivation 47:54 Final Thoughts and Legacy

Many Shakespeare fans don't think of themselves as “math people.” They're theater kids, poetry lovers, bookworms, right? But in Shakespeare's world, math and literature were deeply intertwined. In Much Ado About Numbers: Shakespeare's Mathematical Life and Times, mathematician Rob Eastaway explores how mathematical thinking shaped Shakespeare's language and imagination. Shakespeare lived at a moment of major intellectual change, when England was newly encountering Indo-Arabic numerals, experimenting with new systems of calculation, and redefining ideas of measure and proportion. Eastaway shows how Shakespeare delighted in numbers and patterns, playing with “scores,” fractions, and symmetry in works like Othello, Henry V, Romeo and Juliet, and The Winter's Tale. Even familiar references to “nothing,” time, and music take on new meaning when viewed through a mathematical lens. In this episode, Eastaway reveals how math was woven into everyday life in Shakespeare's time and how reading with our “math glasses” on can offer fresh insights into Shakespeare's language.