Podcast appearances and mentions of richard iii

***This show is brought to you by Quince. Go to http://quince.com/playonpod for free shipping on your order and 365-day returns.*** Richard hires the murderer Tyrell to finish off the Princes in the Tower. Richmond demands his Earldom but flees when Richard brushes him off. Ratcliffe brings news that the Bishop of Ely has joined Richmond. When Elizabeth and the Duchess confront him, Richard uses the opportunity to convince Elizabeth to give him her daughter in marriage in order to preserve her line. He celebrates his triumph until Stanley informs him that Richmond is on his way to England, sending him into a rage. The PLAY ON PODCAST SERIES, “RICHARD THE THIRD”, was written by WILLIAM SHAKESPEARE and translated into modern English verse by MIGDALIA CRUZ. All episodes were directed by LISA ROTHE. Radio play by CATHERINE EATON.   This podcast was recorded under a SAG-AFTRA AGREEMENT.   The cast is as follows:   MATT FRASER                  as    RICHARD THE THIRD MIA KATIGBAK                 as    QUEEN MARGARET, CITIZEN and BLUNT HIRAM DELGADO             as    CLARENCE, DORSET, ELY and MESSENGER NANCY RODRIGUEZ        as    LADY ANNE, OXFORD, RIVERS and A MURDERER RACHEL CROWL              as    QUEEN ELIZABETH, NORFOLK, and MESSENGER SANJIT DE SILVA             as    NESS AQUINO, BUCKINGHAM, and A CITIZEN CHARLES DUMAS            as    EDWARD, HENRY the SIXTH, STANLEY & CARDINAL ANDY LUCIEN       as    HASTINGS, SCRIVENER, a MESSENGER and A MURDERER GABRIELA SAKER           as    CATESBY, DUKE OF YORK and A MESSENGER DANAYA ESPERANZA as BRAKENBURY, RATCLIFFE, LORD MAYOR, TYRREL, and  RICHMOND ALMA CUERVO              as    DUCHESS OF YORK, SHERIFF & A MESSENGER ELIJAH GOODFRIEND  as    PRINCE EDWARD, A PAGE, and A BOY   Casting by THE TELSEY OFFICE: KARYN CASL, CSA.   Voice and Text Coach: JULIE FOH   Original music composition, Mix and Sound Design by LINDSAY JONES. Composer, Producer, Guitars, Bass, Lead Vocals, Recording and Mix Engineer, DAVID MOLINA. EDWIN AYALA on Drums. Backup Vocals by MANUEL TRUJILLO. Sound engineering and mixing by SADAHARU YAGI. Mix Engineer and Dialogue Editor: LARRY WALSH. Podcast Mastering by GREG CORTEZ at New Monkey Studio. Coordinating Producer: TRANSCEND STREAMING (KYRA BOWIE and LEANNA KEYES). Executive Producer: MICHAEL GOODFRIEND.   The Play On Podcast Series “RICHARD THE THIRD” is produced by NEXT CHAPTER PODCASTS and is made possible by the generous support of THE HITZ FOUNDATION. Visit NEXTCHAPTERPODCASTS.COM for more about the Play On Podcast Series. Visit PLAYONSHAKESPEARE.ORG for more about Play On Shakespeare.   Subscribe to Play On Premium for ad-free episodes and join our Patreon for exclusive merchandise and early commercial-free releases. Go to nextchapterpodcasts.com for our Bonus Content, where you'll find interviews with the artists, producers and engineers who brought it all to life. And remember: “We are not safe” Learn more about your ad choices. Visit megaphone.fm/adchoices

Prepare for an insightful episode as we take a deep dive into "The Crossfire Hurricane Plot" and uncover the fascinating lessons it holds from Ancient Rome. Joined by historian and energy advocate Daniel Turner, we critically examine key historical parallels between modern political intrigue and figures like Julius Caesar and Sejanus. Together, we analyze how power dynamics, justice, and cultural shifts from Roman history mirror today's societal challenges, revealing profound insights for America's future.In this must-watch discussion, we tackle the implications of the Crossfire Hurricane investigation, exploring how it parallels historical events that shaped empires, and dissect the consequences of political tit-for-tat cycles throughout history. Learn why uniting principles, national pride, and economic prosperity are pivotal for societal stability and discover how history's lessons can guide us forward.Join the conversation and share your thoughts on these timely topics. Don't forget to like, comment, and subscribe to explore more of History's Mysteries with Jeremy Ryan Slate, where we uncover the stories and ideas that shape our world. Upcoming episodes include a riveting look at Richard III and the boys in the tower, as well as firsthand accounts of the Bermuda Triangle. Stay tuned and be part of the journey!#caesarhistory #trumpcomparison #energyworkers #regimechange #trumppresidency___________________________________________________________________________⇩ SUPPORT OUR SPONSORS ⇩BRAVE TV HEALTH: Parasites are one of the main reasons that so many of our health problems happen! Guess what? They're more active around the full moon. That's why friend of the Show, Dr. Jason Dean, developed the Full Moon Parasite Protocol. Get 15% off now by using our link: https://bravetv.store/JRSCOMMAND YOUR BRAND: Legacy Media is dying, we fight for the free speech of our clients by placing them on top-rated podcasts as guests. We also have the go-to podcast production team. We are your premier podcast agency. Book a call with our team https://www.commandyourbrand.com/book-a-call MY PILLOW: By FAR one of my favorite products I own for the best night's sleep in the world, unless my four year old jumps on my, the My Pillow. Get up to 66% off select products, including the My Pillow Classic or the new My Pillow 2.0, go to https://www.mypillow.com/cyol or use PROMO CODE: CYOL________________________________________________________________⇩ GET MY BEST SELLING BOOK ⇩Unremarkable to Extraordinary: Ignite Your Passion to Go From Passive Observer to Creator of Your Own Lifehttps://getextraordinarybook.com/________________________________________________________________DOWNLOAD AUDIO PODCAST & GIVE A 5 STAR RATING!:APPLE: https://podcasts.apple.com/us/podcast/the-create-your-own-life-show/id1059619918SPOTIFY: https://open.spotify.com/show/5UFFtmJqBUJHTU6iFch3QU(also available Google Podcasts & wherever else podcasts are streamed_________________________________________________________________⇩ SOCIAL MEDIA ⇩➤ X: https://twitter.com/jeremyryanslate➤ INSTAGRAM https://www.instagram.com/jeremyryanslate➤ FACEBOOK: https://www.facebook.com/jeremyryanslate_________________________________________________________________➤ CONTACT: JEREMY@COMMANDYOURBRAND.COM

***This show is brought to you by Quince. Go to http://quince.com/playonpod for free shipping on your order and 365-day returns.*** In the parking garage outside The Tower, Richard coaches Buckingham on how to act distraught. The Mayor arrives with Catesby and recoils in horror when Ratcliffe delivers Hastings' head. In order to keep her own, she promises to tell the citizens that Hastings was a traitor who deserved to die. Once she leaves, Richard tells Buckingham to spread the word that King Edward was father to countless illegitimate children, including the two Princes. Later, Richard is planted as a guest on the Maximum Rock-n-Roll Radio Show to pose as a devout Christian and give the impression that he does not want to be King unless the people demand it. Buckingham stages a call into the show to plead with Richard to take the throne, saying that if he doesn't, there will be rebellion. Richard pretends to be reluctant but eventually gives in. Later, outside The Tower parking garage, the Duchess, Elizabeth, Anne and Dorset assemble to visit the Princes, but Brackenbury refuses to let them in. Dorset flees to France to join forces with Richmond. Anne agrees to be crowned in order to save the Princes. Elizabeth goes to Sanctuary to save herself and the Duchess goes to her death. Later, King Richard sits on the throne at The Temple Beautiful with Buckingham at his side, celebrating their rise to power. The PLAY ON PODCAST SERIES, “RICHARD THE THIRD”, was written by WILLIAM SHAKESPEARE and translated into modern English verse by MIGDALIA CRUZ. All episodes were directed by LISA ROTHE. Radio play by CATHERINE EATON.   This podcast was recorded under a SAG-AFTRA AGREEMENT.   The cast is as follows:   MATT FRASER                  as    RICHARD THE THIRD MIA KATIGBAK                 as    QUEEN MARGARET, CITIZEN and BLUNT HIRAM DELGADO             as    CLARENCE, DORSET, ELY and MESSENGER NANCY RODRIGUEZ        as    LADY ANNE, OXFORD, RIVERS and A MURDERER RACHEL CROWL              as    QUEEN ELIZABETH, NORFOLK, and MESSENGER SANJIT DE SILVA             as    NESS AQUINO, BUCKINGHAM, and A CITIZEN CHARLES DUMAS            as    EDWARD, HENRY the SIXTH, STANLEY & CARDINAL ANDY LUCIEN       as    HASTINGS, SCRIVENER, a MESSENGER and A MURDERER GABRIELA SAKER           as    CATESBY, DUKE OF YORK and A MESSENGER DANAYA ESPERANZA as BRAKENBURY, RATCLIFFE, LORD MAYOR, TYRREL, and  RICHMOND ALMA CUERVO              as    DUCHESS OF YORK, SHERIFF & A MESSENGER ELIJAH GOODFRIEND  as    PRINCE EDWARD, A PAGE, and A BOY   Casting by THE TELSEY OFFICE: KARYN CASL, CSA.   Voice and Text Coach: JULIE FOH   Original music composition, Mix and Sound Design by LINDSAY JONES. Composer, Producer, Guitars, Bass, Lead Vocals, Recording and Mix Engineer, DAVID MOLINA. EDWIN AYALA on Drums. Backup Vocals by MANUEL TRUJILLO. Sound engineering and mixing by SADAHARU YAGI. Mix Engineer and Dialogue Editor: LARRY WALSH. Podcast Mastering by GREG CORTEZ at New Monkey Studio. Coordinating Producer: TRANSCEND STREAMING (KYRA BOWIE and LEANNA KEYES). Executive Producer: MICHAEL GOODFRIEND.   The Play On Podcast Series “RICHARD THE THIRD” is produced by NEXT CHAPTER PODCASTS and is made possible by the generous support of THE HITZ FOUNDATION. Visit NEXTCHAPTERPODCASTS.COM for more about the Play On Podcast Series. Visit PLAYONSHAKESPEARE.ORG for more about Play On Shakespeare.   Subscribe to Play On Premium for ad-free episodes and join our Patreon for exclusive merchandise and early commercial-free releases. Go to nextchapterpodcasts.com for our Bonus Content, where you'll find interviews with the artists, producers and engineers who brought it all to life. And remember: “We are not safe”. Learn more about your ad choices. Visit megaphone.fm/adchoices

Actor Reese Witherspoon on why she's teamed up with thriller writer Harlan Coben to write a novel called Gone Before Goodbye, about a struck-off army surgeon who uncovers a global conspiracy. Colin Farrell discusses his new film Ballad of a Small Player, about a gambler on the verge of losing everything, which is directed by Oscar winner Edward Berger. What is the best amount of time to look at a work of art? Professor Jennifer Roberts from Harvard University has the answer. Today University Academic Richard Taylor was awarded "substantial damages" after a court ruled the portrayal of him in a Steve Coogan film about the discovery of a Richard III's remains did have a defamatory meaning. We talk to Richard about his win.Presenter: Tom Sutcliffe Producer: Harry Graham

Long before Shakespeare became a household name, there was Richard Burbage. As the first actor to play Hamlet, Macbeth, Richard III, and King Lear, Burbage helped define what it meant to be a Shakespearean actor. A commanding performer, he became one of early modern England's first celebrities—celebrated for his emotional power and versatility, as well as his entrepreneurial savvy as an early theater owner. In her new book "Richard Burbage and the Shakespearean Stage: A ‘Delightful Proteus,'" scholar Siobhan Keenan explores the actor's remarkable career and his pivotal partnership with Shakespeare. Together, they transformed the English stage. Siobhan Keenan is Professor of Shakespeare and Renaissance Literature at De Montfort University, UK, and the author of several books on early modern theatre history and performance culture, including Richard Burbage and the Shakespearean Stage: A ‘Delightful Proteus' (2025), The Progresses, Processions and Royal Entries of King Charles I, 1625-1642 (2020), Acting Companies and their Plays in Shakespeare's London (The Arden Shakespeare, 2014), and Travelling Players in Shakespeare's England (2002). From the Shakespeare Unlimited podcast. Published October 21, 2025. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the executive producer. It was edited by Gail Kern Paster. We had help with web production from Paola García Acuña. Leonor Fernandez edits our transcripts. Final mixing services are provided by Clean Cuts at Three Seas, Inc.

The young Prince Edward arrives at The Temple Beautiful and complains to Richard about his uncles imprisonment. Richard tells him his uncles Rivers and Dorset were dangerous. Edward protests but is interrupted by the arrival of the Mayor of London who greets him with flattery. Edward asks about the whereabouts of his mother and brother, the Duke of York. Hastings arrives and tells Edward his mother and brother are in sanctuary. Buckingham orders Hastings to bring York to them by force. The Cardinal protests but Buckingham convinces him there's no need for sanctuary under these circumstances. Alone with his uncle Richard, Edward asks where he and his brother will be staying before their coronation. Richard tells him they're to stay in the Tower. Edward protests but is interrupted by the arrival of his younger brother. Little York teases Richard until he learns they're going to the Tower. He starts to argue but Edward tells him not to fear. They're taken away. Richard and Buckingham call in Catesby to test Hastings' loyalty. Once alone, Richard promises Buckingham the Earldom of Hereford. Later that night, a messenger from Stanley arrives at Barrington Hall to warn Hastings that Richard is going to kill him. Hastings reassures him that Richard won't harm him. Catesby arrives and hears from Hastings that he won't support Richard taking the throne, even though he had his enemies (Rivers and Dorset) killed. Stanley rolls up and warns Hastings not to trust Richard. Buckingham saunters out to meet them and takes them to the Tower for the coronation. Elsewhere, in a warehouse basement in Pomfret, Rivers begs for his life as Ratcliffe drowns him. The PLAY ON PODCAST SERIES, “RICHARD THE THIRD”, was written by WILLIAM SHAKESPEARE and translated into modern English verse by MIGDALIA CRUZ. All episodes were directed by LISA ROTHE. Radio play by CATHERINE EATON.   This podcast was recorded under a SAG-AFTRA AGREEMENT.   The cast is as follows:   MATT FRASER                  as    RICHARD THE THIRD MIA KATIGBAK                 as    QUEEN MARGARET, CITIZEN and BLUNT HIRAM DELGADO             as    CLARENCE, DORSET, ELY and MESSENGER NANCY RODRIGUEZ        as    LADY ANNE, OXFORD, RIVERS and A MURDERER RACHEL CROWL              as    QUEEN ELIZABETH, NORFOLK, and MESSENGER SANJIT DE SILVA             as    NESS AQUINO, BUCKINGHAM, and A CITIZEN CHARLES DUMAS            as    EDWARD, HENRY the SIXTH, STANLEY & CARDINAL ANDY LUCIEN       as    HASTINGS, SCRIVENER, a MESSENGER and A MURDERER GABRIELA SAKER           as    CATESBY, DUKE OF YORK and A MESSENGER DANAYA ESPERANZA as BRAKENBURY, RATCLIFFE, LORD MAYOR, TYRREL, and  RICHMOND ALMA CUERVO              as    DUCHESS OF YORK, SHERIFF & A MESSENGER ELIJAH GOODFRIEND  as    PRINCE EDWARD, A PAGE, and A BOY   Casting by THE TELSEY OFFICE: KARYN CASL, CSA.   Voice and Text Coach: JULIE FOH   Original music composition, Mix and Sound Design by LINDSAY JONES. Composer, Producer, Guitars, Bass, Lead Vocals, Recording and Mix Engineer, DAVID MOLINA. EDWIN AYALA on Drums. Backup Vocals by MANUEL TRUJILLO. Sound engineering and mixing by SADAHARU YAGI. Mix Engineer and Dialogue Editor: LARRY WALSH. Podcast Mastering by GREG CORTEZ at New Monkey Studio. Coordinating Producer: TRANSCEND STREAMING (KYRA BOWIE and LEANNA KEYES). Executive Producer: MICHAEL GOODFRIEND.   The Play On Podcast Series “RICHARD THE THIRD” is produced by NEXT CHAPTER PODCASTS and is made possible by the generous support of THE HITZ FOUNDATION. Visit NEXTCHAPTERPODCASTS.COM for more about the Play On Podcast Series. Visit PLAYONSHAKESPEARE.ORG for more about Play On Shakespeare.   Subscribe to Play On Premium for ad-free episodes and join our Patreon for exclusive merchandise and early commercial-free releases. Go to nextchapterpodcasts.com for our Bonus Content, where you'll find interviews with the artists, producers and engineers who brought it all to life. And remember: “We are not safe”. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this week's episode, we interview narrator Hollis McCarthy, who has narrated over 300 audiobooks, including many of THE GHOSTS and CLOAK MAGES. She is also co-author with her mother Dee Maltby of the MAGIC OF LARLION series, which you can learn more about at https://deemaltbyauthor.com/. This coupon code will get you 25% off the ebooks in the Dragonskull series at my Payhip store: DRAGONSKULL25 The coupon code is valid through October 27, 2025. So if you need a new ebook this fall, we've got you covered! TRANSCRIPT Introduction and Writing Updates (00:00): Hello, everyone. Welcome to Episode 273 of The Pulp Writer Show. My name is Jonathan Moller. Today is October 17th, 2025, and today we have an interview with audiobook narrator Hollis McCarthy. Hollis has narrated many audiobooks, including numerous books from the Ghost and Cloak Mage series, so we'll talk with her about that. Before we get to our main topic, we'll have Coupon of the Week and then a progress update on my current writing projects. This week's coupon code will get you 25% off the ebooks in the Dragonskull series at my Payhip store, and that coupon code is DRAGONSKULL25. The coupon code is valid through October 27th, 2025. So if you need some new ebooks to read for this fall, we've got you covered. And as always, the coupon code and the links to my store will be available in the show notes. Now for an update on my current writing projects. As of this recording, I am 80% of the way through the first round of edits in Cloak of Worlds, so making good progress and if all goes well, the book should be out before the end of the month. I'm also 14,000 words into Blade of Shadows, which will be my next main project after Cloak of Worlds is published, which means I also have to write the outline for Elven-Assassin soon, and that will be the fifth book in the Rivah series. In audiobook news, recording will be underway next week for Blade of Flames. That will be narrated excellently by Brad Wills. Ghost in Siege is now out. It should be available at of all the audiobook stories (except Spotify) and it should be available there in a few days. And that is the final book in my Ghost Armor series that is excellently narrated by Hollis McCarthy. So that is where I'm at with my current writing and audiobook and publishing projects, which makes for a good segue into our main topic, our interview with Hollis McCarthy, which begins now. 00:03:56 Interview With Hollis McCarthy Hi everyone. I'm here today with Hollis McCarthy, who is a classically trained actor. Hollis has played leads in regional and off-Broadway theater, specializing in Shakespeare. On CBS. she's been a recurring guest star judge on Bull, the president of Ireland on Bluebloods, and a senator on Netflix's House of Cards. She's narrated more than 300 books for a variety of publishers and is the proud co-author of her mom Dee Maltby's epic fantasy series, The Magic of Larlion. Hollis, thanks for coming on the show today. Hollis: My pleasure. Jonathan: So to start, can you tell us a little bit about yourself and how you got into acting and performing? Hollis: That's a great question. I think it all started with doing my little brother's Sesame Street finger puppets. He's 10 years younger than me, so I mean, I got to reread all my favorite books with him and I started voicing the finger puppets to Burt, Ernie and Cookie Monster and all those guys in the backseat of the car and playing all the characters. And then my brother went into theater. My other brother's seven years older than me, and I used to go see his shows up at the college when I was in high school and kind of fell in love with it there. I absolutely meant to be an aeronautical engineer/physicist like my dad, but it didn't end up working out. I fell in love with theater and went to Stratford. I had a dual major because I was in an honors program, so I didn't have to declare a major until my fifth year of undergrad. But then I went to Stratford up in Canada and I saw two Shakespeare shows in one day and that was it. I had to do that. That was what I loved. Jonathan: Well, since we've had many audiobooks together, I'm glad it worked out that way. Hollis: Me too. Yeah, so I got my BFA in acting, and then I got my MFA from the University of Missouri-Kansas City in performance, and I was lucky enough to have some great coaches from the RSC and did a bunch more Shakespeare, and I've done that regionally a lot. And then I fell into audiobooks because I got tired of traveling, and I love to work from my home in my jammies. Jonathan: That is the dream. Speaking of that, could you tell us a bit more about how you sort of got into audiobooks or ended up doing a lot of that? Hollis: Yeah. Well, again, it starts with my childhood. My mom, who was a writer and an artist, she had, there were five of us kids and she would read out loud to us in the kitchen to keep us from fighting when we were cleaning up. So she started with Tolkien and Watership Down and Narnia and all of that. And then I got to, like I said, read to my little brother all my favorite books. And so I started doing all different voices for the characters and I always thought that was normal until, of course I volunteered to read in class in high school and people thought I was some sort of freak, but I always loved playing all the characters. And so when I started looking at staying home more and what could I do to work from home instead of being on the road for work, which was great for a long time, but then at some point you want to stay home and have a life as an actor as well as doing what you love. And audiobooks seemed a good fit. So my husband, who's also an actor, took a class from Paul Rubin here in the city in New York. We live in the New York area now. And he got a bunch of good tips from that that he passed on to me. And then my agent got me an audition with Audible and Mike Charzuk there. I came in and read a couple of pieces for him and he came back to the booth with a book he wanted me to start on. And from there I just kept building and got a lot of great indie authors through ACX like you. I don't know how many books we've done together now. Jonathan: It's over 30, I think. Yeah, 30 over the last seven years. So it's been a while. Hollis: And you're seriously, I mean, I'm not saying this because I'm on your blog, but your series are absolutely my favorites, especially because, yeah, the two series that I do, one is Nadia from the Midwest like me and then the other one with Caina, the epic fantasy world, which uses all my British and Irish bits and I absolutely love them. So yeah, I've just kept building up, getting in with a few more publishers now, which is harder to do and I just love it. Our first booth, when the pandemic hit, we had to build a booth at home and I had been going to studios in the city up until that point, but it hit pretty suddenly. It was obvious on St. Patrick's Day when it was like us going to the studio and people who were absolutely desperate folks were the only other ones on the street. We had to stay home. So my husband took our rapier blade (we fight with swords. We're actor combatants, like you said). He took two broadsword blades and a rapier blade, and he's handy with carpentry, fortunately. That's how he worked his way through school. He bracketed those to the wall and we ordered through Amazon before they kind of shut down too. We ordered packing blankets to hang over them and I ordered a new microphone and a new interface and it was trial and error for a bunch of days. And we had an engineer on call who talked us through how to run the software programs and stuff, how to set them up. And from there I've just kept recording at home. I sometimes still go into the studios when they have a budget where they can spring for a studio, but mostly they want you to work from home these days. So that's mostly what I do. Jonathan: Oh, building a recording booth out of swords. That's very Caina. Hollis: It's very Caina. I love Caina. Caina is me as a young woman. If I had been a superhero, I would've been a Caina. All my favorite roles in Shakespeare were the girl as boy ones. You asked, one of my favorite roles in theater was when I was at Alabama Shakespeare and I was playing Queen Elizabeth in Richard III and dressing in gorgeous gowns and being very seductive and very powerful and manipulative and all that. But in the earlier scenes, we did the three plays and in the Richard III and the Henry VI we did all three. And in the earlier scenes where Elizabeth wasn't in, I got to dress up and doublet and hose and I like stippled some stipple of beard on my face and climbed a siege ladder with a sword in one hand and did a spectacular pratfall running away from the bad guys and would slide on my stomach on the deck of the stage and I would come out into the lobby and the other guys who were playing my fellow fighters would be holding up rating cards for how far I'd slid that day. Jonathan: Sounds like very practical cardio. Hollis: Yeah, very. It was a lot of fun. That was probably my most fun I've ever done, though I also loved Beatrice and Much Ado, which I got to do twice because she's just so funny and witty and passionate. She's great, and Shakespeare, you know. Jonathan: Very good. So after all these audiobooks, what goes into preparing to record an audiobook? Hollis: That's a great question, too. It depends on the book, really. And I'm lucky enough to do a lot of series now, so when you're doing a series, it gets easier as you go along. I remember with the first ones I did for you, the first Caina, it probably took me an hour of prep to get through the first chapter. There were so many made up place names that I needed to figure out how to say, and then you have to be consistent. Even if they're made up, you still have to be consistent. So I really used my theater training there because I learned the international phonetic alphabet when I was in school, and so I can write down phonetic pronunciations and for each book, I'm old school with my prep, I'll keep a legal pad and I'll write down phonetic pronunciations, the word, page number, and the phonetic pronunciation for each word, so I have a record. You don't retain them from book to book. Pronunciations is a big part of what you do. Also, character voices, because again, you want to be true to the author's intent and you want to stay consistent. Again, for Caina, it became very complicated because you had to have Caina's basic voice, which is this [speaks in Caina's voice]. She started out a bit higher because she was younger. And then as she aged, she's gotten more medium pitch-wise, but then she was in disguise as various people. She was disguised as a cockney guy for a while, and she was an Irish guy for a while. And so for each of those personas, you have to notate for yourself in the script. Oh, now she has this accent. Now she has this one. And really for each chunk of dialogue, every time a character speaks, I'll put the initial of their name and if there are a lot of characters in the scene, I will have to differentiate between them pretty frequently. If it's two characters and I know them both very well, then I kind of have the shorthand in my head. So the different character voices I also put on my legal pad so I have a record, so Calvia sounds like this [speaks a line in the character's voice]. And sometimes I'll write down physical aspects of them so that I can just kind of feel the character. And after I do them for a while, the feel of the character will give me the voice and you write down everything that the author says about the character too. I'll just notate for myself that will oftentimes give you the voice. If it's a good author, which thank God you are, you write in different voices, which makes my job easier. Jonathan: The joke I sometimes say is I didn't do audiobooks for the first seven years I was publishing, and people would ask me, how do you pronounce this? I say, I don't care, pronounce it however you want. And then suddenly we started doing audiobooks and suddenly no, it matters very much how it's pronounced. Hollis: Yeah, exactly. It's funny, I'm just looking at my tablet. I have your Shield of Power up on my tablet. I've been reading that on the treadmill and at lunch. But yeah, we have to keep tabs. And when we have so many books now, I've started special folders just for the Ghost series and the Cloak series because a lot of times a character will show up from several books previous and I go, I remember them, but I don't remember what they sounded like. So I will have notated forward alto, slightly Irish or something like that for them. I have shorthand for all of it, and so I'll do that. Jonathan: Yeah, I spent a lot of time with Control + F searching through Word documents, trying to remember the first time I wrote this character and what they looked like. Hollis: Yeah, I bet you do. Some writers I guess do, well, if they don't do it all themselves. And if they have somebody who's like an administrative assistant, they have somebody who gives you, I've gotten these from authors before. Their assistant will send me a story log of characters with everything that's said about the character. I'm like, oh, well, that's very organized and helpful, but I would think it would be massively time consuming. Jonathan: It is. I did hire someone to help me with that this year. It was getting to be too much to go back and search through things and it is a very time consuming project, but once it's done, it's very helpful because it's quite easy to find things and look things up and refresh your memory. Hollis: I bet so. When I was working on my mom's books, we hired an editor and she did a spreadsheet, a database kind of different terms and characters and what was said about them. And I go back to that and amend it all the time now that I'm trying to write book eight. Jonathan: Yeah, that kind of thing is very helpful. But on a related topic of preparation, since you've done audiobooks, stage, and TV, how would say narrating audiobooks is different from the experience of doing theater or TV? Hollis: The major thing and the hardest thing for me when I was starting out was you can't move around all the time. I had an engineer at Audible. It was just, and a lot of times the chair is very important because if you move, what you're bound to do, if you're producing your voice correctly, you need to sit up and you need to use your hands to express yourself, and you have to have an absolutely silent chair. And the chairs at Audible at that time, were not absolutely silent. So every time I moved, the chair would squeak and we'd have to stop and start again. So that was very, very hard for me. In fact, I've been doing so much audiobooks now, and I also do TV and film, but that's gone to all for auditioning for that. It's all self tape, which means it's just like head and shoulders, so still you're just kind of using a little part of your body. And I had a theater callback for Pygmalion in the city the other day, in person, in a studio, in a rehearsal room. The day before, I used to do those all the time, and that's so rare now for them to do in-person auditions since the pandemic. But I put on my character shoes and my skirt and I practice just being bigger, opening my body up and doing all this stuff I learned to do in school and that you do when you're on stage to own the space because the space is the back wall of the theater. And that's a big difference between theater, film, TV, and audiobooks is the scope of it. When I did Beatrice, I was in an 1,100 seat unamplified stone amphitheater outdoors in Colorado. So you can imagine the scope physically and vocally is so big. And then for TV, film and you have to what they say, reach the back wall of whatever space you're in. Well, for film and TV, the back wall is the camera. It's right in front of your face a lot of the times. And the back wall is really kind of the inside of your head. It's almost like you have to have internal gaze so that the thoughts are just happening. You don't have to project them, you don't have to project your voice because all the equipment comes right to you, and all you have to do is feel the feelings and think the thoughts and the camera and microphone picked that up. Similarly with audiobooks, I'm just in a little tiny padded booth. My microphone is just a few inches from my face, and so I could be very, very intimate and everything gets picked up, and you have to do a lot less work for the emotion to come through. Again, really all you have to do is kind of feel the emotion. And for me, that's always for me is being in the moment and feeling the moment and letting that dictate the pace and the vocals and everything. I guess I'm pretty Method. I'm very Method, but that's how I trained. It's what works for me. Not every narrator is like that. There's a million different proper ways to narrate, and that's just my take on it. But everything is right there. So it's just kind of keeping it much smaller and more intimate. And in fact, when you want to be big like [character name's said in the character's] voice and he was yelling a lot, and I would have to pull back from the microphone to let his scope come out. Jonathan: Well, after 30 audiobooks together, I can say that method definitely works. Related to that, as we mentioned earlier, you're now at over 300 titles on Audible over the last 12 years. Congratulations for that. What would you say is most surprising or unexpected things about audiobooks you learned during that time? Hollis: Oh, well, it was very surprising that we could make a booth out of sword blades and blankets. That surprised me. Yeah, that's a great question. It's surprising to me how simple I can be. I went back and I had an author recently who wanted me to do a new chapter to begin and end a book that I had done like 2014, something like that, shortly after I started. And I thought at the time that I was really filling these voices and what I did was fine. You're always your own worst critic. But what I've discovered now is the more you do it, the more you record, the more you use your instrument every single day for 300 some books, the more effortless it becomes and the more depth you can bring to it. And as a young actor, we always resist that. My acting coach used to say, age and experience. There's no substitute for it. I'm like, yeah, yeah, but talent and hard work, that's something. But it's really true that just the repetition, there's no substitute for it. Those chapters that I did, they were the same voices basically. But when I went back and listened to the original, I was like, oh, it surprised me how without really changing anything mechanically, the work has just gotten deeper, more effortless, but it sounds better at the same time. Does that make sense? Jonathan: It does. Because you've probably noticed I've redesigned the covers for the Caina series like seven times over the last 10 years. And every time you think this is it, this is it. I'm done. This is good. And then with more practice, you look back and think, well, maybe I can improve this again, though. I suppose that's not often something that happens in the audiobook world where you get to go back and revisit something you did previously. Hollis: That is one of the hardest and most surprising things about audiobooks. And I've heard people say that this happens to every young narrator when they're starting out, you get through the first two chapters of a new book and you go, oh God, now I get it. I want to go back and start again. Well, there's no do overs with audiobooks. With audiobooks, “done is good” is what they always tell you when you're starting out. So even in film and TV, which you don't get much rehearsal for, you get a couple of run run-throughs, but with audiobooks, you got your prep. Not everyone does, but I always read the whole book before I start if possible, because otherwise you get surprises. But you get your one read through, your prep, and then you go and yes, you can stop. You can punch and roll, edit over. If you make a mistake, you go back half a line, you start again there. But there's no evolution of the work, which is what's great about series too, I think, because with the series you get, yeah, Caina was here last time I did her and now she's going through something new. And then the character grows and it becomes less and less effortful, but it also becomes like someone you really know so that it gets so much deeper and it's so much more fun to play with. Jonathan: That makes sense. 12 years really is a long time to have done audio narration or anything. So what do you think is the key to sticking it out for audiobooks for the long term? Hollis: Well, a lot of things make a difference. I didn't do it before this interview, which is why my voice is kind of rocky, but I always warm up in the morning when I'm setting up a session. I always do a vocal warmup. You got to get a good night's sleep, you have to drink water every couple of pages. I have a tea that I drink that keeps my stomach quiet because stomach gurgles is another bad thing about audiobooks. You have to eat very carefully and drink tea to keep your stomach quiet. You don't want to have to stop every time for that. And a lot of training, a lot of vocal training. I had Linklater training and the Lavan training, and Linklater to me is the most useful. And a lot of the stuff that applies to Shakespeare applies to audiobooks too. You warm up, you get yourself breathing, you warm up your resonators, your sinus, your mask resonators, the back of your head, your chest resonators. For the men [imitates male voice], you really have to have your chest warmed up, get the vibrations going here. And so I get all that kind of going before I sit down in the booth. And that also keeps you, then you keep your throat open so you're not hurting yourself. You have to have good posture so that the air can move from your diaphragm up to your throat and have it be open. And then optimally, like with Caina, Caina has a lot of mask resonance. Brits do; they are very far forward. So you really have to have all that warmed up and then that has to have no impediments between the front of your face all the way down to your diaphragm where the breath originates. And if you can do all that, then you could be an audiobook narrator. Also diction. I warm up my diction to everything from [imitates several vocal exercises] in just to get your mouth moving. You don't want lazy mouth with, there's a lot of enunciation in audiobooks that's important. But I also don't like, I really hate when you hear people enunciating. I don't like that. And with Caina, even though she's upper class, she's not like that. She's not pretentious. And certainly Nadia, you want to be able to understand what she says, but you don't want her to be enunciating. That be weird. So all of all that stuff I worked on in grad school and did all the Shakespeare plays, I would always get to the theater an hour early. You have to be there half hour for makeup and check in, but I would always get there an hour early and do at least 15 to 20 minutes of physical and vocal warmups. And so those habits have really helped me. I think I have pipes of iron, fortunately. I'm very lucky. So all that stuff really matters with audiobooks. Jonathan: It's amazing in how many different fields of life the answer seems to boil down to do the things you're supposed to over and over again forever. Hollis: Exactly. That's really true. When are we going to get old enough that we don't have to do that anymore? [laughs] Jonathan: Just one side question. What is Linklater training? I don't think I've heard that term before. Hollis: Oh, Kristen Linklater is, she's probably the biggest American vocal coach. She has a lot of books out there about voice and the actor and all of her training stems from allowing the breathing to drop in as she calls it, not forcing it to drop into the diaphragm, and then creating a pool of vocal vibrations that go from the diaphragm through an open throat to the resonators. And you can use every resonator in your body to project that sound. When I was doing Beatrice and Gertrude at Colorado Shakes in that unamplified stone amphitheater in the foothills of the Rockies, there was winds that would come down out of the mountains when we were on stage, and that theater was known for eating women's voices. And I had to thank God the vocal coach that summer was a Linklater coach, which is the method that I trained in, and he helped me work with even resonators. If you can imagine in your back, just using the whole chest box and shaking the vibrations through your body so that basically you're making your whole human skeleton an amplifier for the vocal energy coming from your breath. And that's Linklater. She's fascinating. If you ever want to study voice, you can't do better than Linklater, to my mind. Cicely Berry is another one I studied. She's the British guru for the RSC and the Royal Shakespeare Company and all those people, and she's great too. Jonathan: Well, that's just exciting. I learned something new today. Hollis: That's always good. Always learning from your books too about Medieval combat. Jonathan: We always want to learn something new every day, whether we like it or not. Hollis: Right. Jonathan: So to turn it around a little bit, what advice would you give a new indie author who is working with a narrator for the first time? Hollis: Oh yeah, I actually, I made some notes. I thought that was such a good question. Make sure that your narrator knows what you expect from them upfront. If you go through ACX, they have this great thing called the first 15 where your narrator is, if you're new to this author, you record the first 15 minutes of the book and you put that on ACX for your author to listen to and approve. You don't have to approve it if you don't like it. And in fact, if you don't like it, it's very important you don't approve it and you tell your narrator specifics about what you need them to change before they go on with the book. Because what you can't really do is once a book is recorded, say, oh, I really don't like it. I'm not going to pay you for it. I need you to go back and do it again. That's not acceptable and it will make narrators never want to work with you. But what's great about the first 15 is you have that chance to say, well, this voice was, she was a little higher than I wanted. I hear her in my head more as an alto because for me as a narrator, what I want to do is I want to take what you, Jonathan, hear your characters being as you're writing them in your head. I want to take that and translate that into an audiobook for you. So the more you give your narrators information about your characters, the better they're going to voice it. Also, if there's a style in your head, like with Nadia books, there's a little touch of noir there. It was a dark and stormy night kind of feel. If there's a style you kind of hear in your head, that would be a good thing to give them. But ACX has also, I think a character sheet where you can tell them about the different characters. You can fill that out for your narrator. That's tremendously helpful, age of the character, if you hear a vocal pitch range, soprano, alto, tenor, bass, any dialects, they need to know that. The narrator's nightmare is you finish up a book and you shouldn't do this, you should read ahead, but you get to the last line: “I love you, darling,” he said in his beautiful French accent. Jonathan: It explicitly shows up there for the first time. Hollis: Exactly. And then for the narrator, it's like, oh my God, I have to go back and rerecord everything this guy said, which is hours and hours and hours of work for you and your editor who will kill you. But yeah, let them know about all the character traits that you can and just, I think it's on the narrator too, to, I've been lucky with my authors, we always have a good give and take. I come from a theater background and you want to collaborate. You want to realize the author's vision and you want to be a partner in creating that. So try to be partners and give them more information than you think they need and use that first 15. It is totally acceptable to send it back and say, I'm going to need you to do this again, and I'm going to need these changes. And then once you get that ironed out, then you'll probably be ready to go ahead and have a book. And when you get the book, you won't be shocked and you'll be happy (hopefully) with the read. Is that helpful? Jonathan: It does. New authors, if you're listening to this, listen to that advice. Hollis: Yeah. Jonathan: Now for a slightly different topic, can you tell us about the Magic of Larlion books and how you ended up publishing that series? Hollis: Yeah. The Magic of Larlion is an epic fantasy adventures series seven, almost eight volumes. I'm working on finishing book eight now. The first book, Wizard Stone, my brilliant mother Dee Maltby started years and years ago, probably, gosh, maybe 20 years ago now, I think when my little brother moved out from home and she had an empty nest and she had more time to write, and she wrote Wizard Stone, and she sent it out a few places, and that was the only way you could get published back when she wrote it and didn't pursue it, she got discouraged, I think, by rejections from publishers, sat in her drawer for a while, and my sister-in-law, Dana Benningfield, who's also an actor, and she was my best friend even before she married my brother. I introduced them. So yeah, that was all me. She was an editor professionally for a while, and when she moved to Ohio where I'm from and was living with my brother and my parents lived right across the orchard, I told her about this book. And she wasn't editing at the time, she was kind of done with it, but she asked mom if she could read it. So she read it and edited it, and then it became a much better book and really encouraged my mom to keep writing, which I had been telling her to do for years. But hearing somebody who wasn't family, somehow giving her that input that it was really something special, changed her perspective. So she kept writing and she and I started, I was on the road doing Shakespeare a lot. We started trading chapters. She'd send me a chapter a week and I would edit it and send it back. And so Wizard Stone evolved from there into its current form, and then she started the next book, Wizard Wind and Wizard Storm. And we went that way through five and a half books. And my dad finally, when he retired from being a physicist, said he was going to, I always told you I'd get your published Dee, I'm going to take it down to the print shop and get a hundred copies made. And by this time I was working with you and a bunch of other great indie authors who were letting thousands of happy readers read their books through an independent platform. And I said, well, wait a minute. I could do better than that. So I convinced them to hire an editor that I had worked with, and I did the rewrites and got it through the pre-production process and hired a cover artist, very talented artist. And you and Meara Platt, another of my authors, gave me so much information and help. And we got it published in 2022, I believe. We had three ready to go. And we published those all within a month of each other. One a month for three months, and then four and five, and then six came. And I co-authored five, six, and seven because my mother was losing her sight and her hearing at that point. We got those done. We had six out and a lot of people reading them and loving them and reviewing them before my mom passed. And I think it's probably one of the most satisfying things I've done in my life, because not only do I love the books, and they're just a rip roaring, fantastic adventure-filled epic trip through this incredible world my mom invented. But when she was about to, one of the last things she said to me was, I told her how many people had read her books. I just went through the Kindle numbers and thousands of people in different countries and all over the world were reading and loving her books. And I told her that, and she said, that's all that matters. And she felt such a sense of pride in herself and accomplishment because they were being received for what they are, which is a brilliant creative flight of fancy, this magical world in the tradition of all the books she loved, always Tolkien. And so I promised her I'd finish it. So after she died, I published six and seven and I've got eight about 90% written now, and I'm hoping to bring that out by the end of the year, although I've been too darn busy with narration to really spend the time. I've got the big climactic Jonathan Moeller type battle at the end sketched in my head and on an outline, but I got to write that. And then we can get that out there and finish that too. Jonathan: Will you stop with eight or keep going after eight? Hollis: My feeling is that this series will culminate with book eight. It's been a long saga of Beneban, this young wizard who kind of gets flung off a mountain by his evil wizard master and has to master his fledgling wizardry powers and his magical sword to win his love Laraynia, a powerful sorceress, and save the kingdom. And that's book one. And there's ice dragons, and then they have kids, and then the later books have become much more about their kids. And the more I write, the more it's become about young women fighting with swords. Jonathan: Well, they say write what you know. Hollis: Defeating the bad guys. Plucky young women, overachieving, competing with men. And so I think that's all going to come to a head with book eight, and that will be the end of that series. But I do think I'm going to spin it off into possibly more on the younger characters. I don't know if it's going to be YA per se, I think it'll still be for adults, but more of a YA feel to it, the younger characters of the ice dragon riding school of battle and the wizarding school. I don't know if I want to make it schools necessarily, it might limit you too much. And that's kind of been done too. But I do think the ice dragons are going to figure largely in it. Oh, and I don't know, there's a plot point I probably shouldn't give away, but my mother's full name was Willa Dee Maltby. She writes under Dee Maltby and there is a character, a very magical character named Willa that shows up in this book eight. So I think Willa will be a big character going forward and the younger generation of women and some boys too. I like boys, I do. Jonathan: Well, I suppose if people want to know more, they will have to read and find out. Hollis: Yes. And please go to the website is deemaltbyauthor.com and everything you want to know (well, maybe not everything), but everything you can know for now is there. Jonathan: Well, I was going to ask you what you would say was the most rewarding things about publishing the books, but I think you covered that pretty well. On the flip side, what was the biggest unexpected challenge in publishing them? Hollis: The PR is hard. You seem to be great at it. I even did PR professionally to work my way through undergrad and then in between grad school and undergrad and after I graduated and I had an assistantship in it at my university. But the book world specifically is a whole different kind of PR and learning Amazon ads and Facebook ads and it's a lot. It's a lot. And again, you have been so helpful with it. And I mean, there are a lot of online resources out there too, which is great. But what I'm really finding, trying to do it part-time is overwhelming. You really need a full-time block of time to not only write the books, but then to publicize them the way they deserve to be publicized. Jonathan: Yeah, the tricky part is, as you said, book advertising is very different from anything else. I was talking with a guy who is an Amazon reseller for various toiletries and hygiene products and makes a good living doing that. I was telling him how much I pay per click on Amazon ads. He's just appalled. It's like, you can't make any money doing that. And then the flip side of that too is that Internet marketing is so different than any other form of PR, so it's just sort of constant challenge there. Hollis: I know, and I know I actually signed up for a TikTok account and I just don't, again at the time. Plus every time I turn it on, I'm like, I don't want to watch that. I'm allergic to the format. You'd think being an actor, being used to being on camera, I could come up easily with little things to do for the books and I probably could for TikTok. But again, just learning the platform and then applying yourself to it is just such a big time hack that I don't have that amount of time. I know that narrators are now more and more marketing themselves by recording themselves on camera narrating and putting that out there, which I can do, I guess. And that's why I got this ring light and everything. I can do that now. I haven't done anything with it, but I guess if some of the book work dries up, I'll be more motivated to do it. Jonathan: Well, that's how anything works. You try it and if you enjoy it and it works, keep doing it. And if you don't enjoy it and it doesn't work, no point in carrying on with it. Hollis: I think that's true. And you just have to keep learning too, as we know with everything. You got to keep learning new things. Jonathan: Well, this has been a very enjoyable interview and thank you for coming on the show. Hollis: My pleasure. Jonathan: Let's close out with one last question. You've obviously done a lot of theater, so what, out of all the productions you've done was the one you would say was your favorite or that you enjoyed the most? Hollis: I think I have to go back to Beatrice probably. I mean, the Alabama Shakes getting to play a man thing, that was a lot of fun. But Beatrice, we did a Wild West Much Ado about Nothing at Colorado Shakespeare. The premise was that I was the niece of Leonardo, who is the tavern keeper, the bar keeper in this Wild West world. And there was a bar fight opening this Wild West production, and I entered through a swinging tavern door with a six shooter in one hand and a bull whip in the other. And I shot the pistol and cracked the bull whip and broke up the fight and then got to do Shakespeare's incredible Beatrice and Benedict story from there. It was so much fun. Jonathan: It almost seems like the soundtrack could have been “I Shot the Sheriff.” Hollis: Yeah. Yeah, it really could. It was a heck of a lot of fun. Jonathan: Well, speaking of fun, it was good talking with you, and thank you for taking the time to be on the show. Hollis: Yeah, I am excited to start the next Cloak book soon. So I was going to offer to do a little snatch of you want the introduction for Cloak here? Jonathan: Oh, I think we'll save it for the Real Thing. Hollis: Oh, okay. All right. Well thank you, Jonathan. It's been a pleasure. Jonathan: It's been a pleasure. And see you soon for Cloak Mage #10. Hollis: Alright. So that was our interview with Hollis McCarthy. Thank you for coming on the show and giving us a very informative and entertaining interview. A reminder that the website with the Magic of Larlion books is deemaltbyauthor.com. So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy, and we'll see you all next week.

Inside the Tower, Clarence begs for his life. Later, at the Gilman DIY Music Venue, King Edward secures a reluctant peace between his family's rival factions, but collapses in grief when Richard arrives with news of Clarence's death. In the ensuing chaos, Richard secures the alliance of Buckingham and Ratcliffe. That night, Elizabeth and the Duchess grieve the deaths of Edward and Clarence. Richard enters to offer his condolences and Buckingham suggests a quiet coronation for the young prince Edward in order to avoid civil unrest. Meanwhile, Dorset and Rivers rush to secure the safety of Prince Edward in Ludlow. At Rasputin Records, citizens fret over being ruled by a child King with Richard as his Protector. At home with her younger son, the Prince of York, Elizabeth gets a tattoo as she ruminates with the Duchess over their horrible state of affairs. A messenger arrives with the news that Dorset and Rivers have been imprisoned in Pomfret by Richard and Buckingham. Elizabeth grabs York and withdraws in despair to sanctuary, leaving the Duchess behind. The PLAY ON PODCAST SERIES, “RICHARD THE THIRD”, was written by WILLIAM SHAKESPEARE and translated into modern English verse by MIGDALIA CRUZ. All episodes were directed by LISA ROTHE. Radio play by CATHERINE EATON.   This podcast was recorded under a SAG-AFTRA AGREEMENT.   The cast is as follows:   MATT FRASER                  as    RICHARD THE THIRD MIA KATIGBAK                 as    QUEEN MARGARET, CITIZEN and BLUNT HIRAM DELGADO             as    CLARENCE, DORSET, ELY and MESSENGER NANCY RODRIGUEZ        as    LADY ANNE, OXFORD, RIVERS and A MURDERER RACHEL CROWL              as    QUEEN ELIZABETH, NORFOLK, and MESSENGER SANJIT DE SILVA             as    NESS AQUINO, BUCKINGHAM, and A CITIZEN CHARLES DUMAS            as    EDWARD, HENRY the SIXTH, STANLEY & CARDINAL ANDY LUCIEN       as    HASTINGS, SCRIVENER, a MESSENGER and A MURDERER GABRIELA SAKER           as    CATESBY, DUKE OF YORK and A MESSENGER DANAYA ESPERANZA as BRAKENBURY, RATCLIFFE, LORD MAYOR, TYRREL, and  RICHMOND ALMA CUERVO              as    DUCHESS OF YORK, SHERIFF & A MESSENGER ELIJAH GOODFRIEND  as    PRINCE EDWARD, A PAGE, and A BOY   Casting by THE TELSEY OFFICE: KARYN CASL, CSA.   Voice and Text Coach: JULIE FOH   Original music composition, Mix and Sound Design by LINDSAY JONES. Composer, Producer, Guitars, Bass, Lead Vocals, Recording and Mix Engineer, DAVID MOLINA. EDWIN AYALA on Drums. Backup Vocals by MANUEL TRUJILLO. Sound engineering and mixing by SADAHARU YAGI. Mix Engineer and Dialogue Editor: LARRY WALSH. Podcast Mastering by GREG CORTEZ at New Monkey Studio. Coordinating Producer: TRANSCEND STREAMING (KYRA BOWIE and LEANNA KEYES). Executive Producer: MICHAEL GOODFRIEND.   The Play On Podcast Series “RICHARD THE THIRD” is produced by NEXT CHAPTER PODCASTS and is made possible by the generous support of THE HITZ FOUNDATION. Visit NEXTCHAPTERPODCASTS.COM for more about the Play On Podcast Series. Visit PLAYONSHAKESPEARE.ORG for more about Play On Shakespeare.   Subscribe to Play On Premium for ad-free episodes and join our Patreon for exclusive merchandise and early commercial-free releases. Go to nextchapterpodcasts.com for our Bonus Content, where you'll find interviews with the artists, producers and engineers who brought it all to life. And remember: “We are not safe”. Learn more about your ad choices. Visit megaphone.fm/adchoices

Shakespeare's plays are filled with unforgettable women—but too often, their voices are cut short. Ophelia never gets to defend herself. Gertrude never explains her choices. Lady Anne surrenders to Richard III in silence. In her new book, She Speaks: What Shakespeare's Women Might Have Said, acclaimed actor Dame Harriet Walter imagines what those characters might tell us if given the chance. Through original poems, Walter reimagines moments of silence, expands on fleeting lines, and provides depth to women who were left without a final word. Walter invites us to see Shakespeare's plays in a new light—reconsidering how we understand his female characters, and how their voices might transform the stories we thought we knew. From the Shakespeare Unlimited podcast. Published October 7, 2025. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the executive producer. It was edited by Gail Kern Paster. We had help with web production from Paola García Acuña. Leonor Fernandez edits our transcripts. Final mixing services are provided by Clean Cuts at Three Seas, Inc. Dame Harriet Walter, DBE, is one of Britain's most esteemed Shakespearean actors, whose roles include Ophelia, Viola, Lady Macbeth, Cleopatra, Brutus, King Henry IV, and Prospero, among others.. She has received a Laurence Olivier Award, as well as numerous nominations, including a Tony Award nomination, three Primetime Emmy Awards, and a Screen Actors Guild Award. Walter is also well-known for her appearances in Sense and Sensibility, Atonement, Downton Abbey, The Crown, Succession, Killing Eve, and Ted Lasso, among many other notable projects. In 2011, she was appointed Dame Commander of the Order of the British Empire (DBE) for services to drama.

Direct descendants of the Plantagenets were once at the very heart of Tudor politics, yet their story is often overlooked. From Margaret Pole, niece of Edward IV and Richard III, to her son Cardinal Reginald Pole, the family's fortunes mirrored the turbulent shift from Plantagenet to Tudor rule.Professor Suzannah Lipscomb is joined by Adam Pennington to uncover the dynasty's dramatic journey from survival after the Wars of the Roses to Margaret Pole's shocking execution in the Tower of London.More:Henry VIII's Nemesis, Cardinal PoleHenry VII: Rise of the Medieval TudorsPresented by Professor Suzannah Lipscomb. The researcher is Max Wintle, edited and produced by Rob Weinberg. The senior producer is Anne-Marie Luff.All music courtesy of Epidemic Sounds.Not Just the Tudors is a History Hit podcast.Sign up to History Hit for hundreds of hours of original documentaries, with a new release every week and ad-free podcasts. Sign up at https://www.historyhit.com/subscribe. You can take part in our listener survey here: https://insights.historyhit.com/history-hit-podcast-always-on Hosted on Acast. See acast.com/privacy for more information.

Queen Elizabeth replays a tape of her husband King Edward's band as she obsesses over his failing health. Her brother, Lord Rivers, tries to comfort her, as do her two sons from a previous marriage, Gray and Dorset. She tells them that the sons she conceived with Edward are still too young to rule, and that if her husband dies, the throne will go to Richard until the oldest son comes of age, putting her safety in jeopardy. Buckingham and Derby arrive to report that King Edward's health is improving and that he wants to make peace between Richard and Elizabeth's clans. Richard barges in with Hastings at his side, railing that he's being disrespected and that people are telling lies about him. Elizabeth does her best to defend herself against his accusation that she put Clarence in jail and that she is vying for the throne. As they argue, the old Queen Margaret arrives unseen and listens to them from outside the house, commenting bitterly to herself about how quickly power is lost. She finally confronts the group and berates Richard for the murders of her family before cursing everyone in the room, one by one. After she departs, Catesby enters to say that King Edward wants to talk to his family. Richard, left alone, celebrates his mischief, then hires two murderers to kill his brother Clarence in the Tower. There, Clarence tells Brackenbury (the jailer) about a nightmare he had in which he drowned trying to rescue Richard and was dragged down to hell. The PLAY ON PODCAST SERIES, “RICHARD THE THIRD”, was written by WILLIAM SHAKESPEARE and translated into modern English verse by MIGDALIA CRUZ. All episodes were directed by LISA ROTHE. Radio play by CATHERINE EATON.   This podcast was recorded under a SAG-AFTRA AGREEMENT.   The cast is as follows:   MATT FRASER                  as    RICHARD THE THIRD MIA KATIGBAK                 as    QUEEN MARGARET, CITIZEN and BLUNT HIRAM DELGADO             as    CLARENCE, DORSET, ELY and MESSENGER NANCY RODRIGUEZ        as    LADY ANNE, OXFORD, RIVERS and A MURDERER RACHEL CROWL              as    QUEEN ELIZABETH, NORFOLK, and MESSENGER SANJIT DE SILVA             as    NESS AQUINO, BUCKINGHAM, and A CITIZEN CHARLES DUMAS            as    EDWARD, HENRY the SIXTH, STANLEY & CARDINAL ANDY LUCIEN       as    HASTINGS, SCRIVENER, a MESSENGER and A MURDERER GABRIELA SAKER           as    CATESBY, DUKE OF YORK and A MESSENGER DANAYA ESPERANZA as BRAKENBURY, RATCLIFFE, LORD MAYOR, TYRREL, and  RICHMOND ALMA CUERVO              as    DUCHESS OF YORK, SHERIFF & A MESSENGER ELIJAH GOODFRIEND  as    PRINCE EDWARD, A PAGE, and A BOY   Casting by THE TELSEY OFFICE: KARYN CASL, CSA.   Voice and Text Coach: JULIE FOH   Original music composition, Mix and Sound Design by LINDSAY JONES. Composer, Producer, Guitars, Bass, Lead Vocals, Recording and Mix Engineer, DAVID MOLINA. EDWIN AYALA on Drums. Backup Vocals by MANUEL TRUJILLO. Sound engineering and mixing by SADAHARU YAGI. Mix Engineer and Dialogue Editor: LARRY WALSH. Podcast Mastering by GREG CORTEZ at New Monkey Studio. Coordinating Producer: TRANSCEND STREAMING (KYRA BOWIE and LEANNA KEYES). Executive Producer: MICHAEL GOODFRIEND.   The Play On Podcast Series “RICHARD THE THIRD” is produced by NEXT CHAPTER PODCASTS and is made possible by the generous support of THE HITZ FOUNDATION. Visit NEXTCHAPTERPODCASTS.COM for more about the Play On Podcast Series. Visit PLAYONSHAKESPEARE.ORG for more about Play On Shakespeare.   Subscribe to Play On Premium for ad-free episodes and join our Patreon for exclusive merchandise and early commercial-free releases. Go to nextchapterpodcasts.com for our Bonus Content, where you'll find interviews with the artists, producers and engineers who brought it all to life. And remember: “We are not safe”. Learn more about your ad choices. Visit megaphone.fm/adchoices

On this day in 1452, a boy was born at Fotheringhay Castle who would become England's last Plantagenet king: Richard III. I'm Claire Ridgway, and in today's episode we trace Richard's short, stormy road from noble son to fallen king, and the remarkable afterlife of his story, from Bosworth Field to a Leicester car park and DNA confirmation centuries later. In this podcast: Birth & family: the House of York and Cecily Neville, the “Rose of Raby” 1483: the pre-contract claim, Edward V's disinheritance, and Richard's coronation Challenges to the crown: Buckingham's rebellion & Henry Tudor's invasion Battle of Bosworth (22 Aug 1485): tactics, the Stanleys' decisive move, Richard's last charge Burial at Grey Friars, the 2012 discovery & DNA, scoliosis, and reinterment (2015) Legacy: usurper, reformer, courageous warrior, or a king made by brutal times? What's your take on Richard III—pragmatic protector, ruthless usurper, courageous warrior, or a product of his age? Tell me in the comments. If you enjoyed this On This Day, please like, subscribe, and ring the bell for more daily Tudor and late-medieval history. #OnThisDay #RichardIII #WarsOfTheRoses #Bosworth #Plantagenet #Fotheringhay #PrincesInTheTower #AnneNeville #Leicester #MedievalHistory #TudorHistory #History #Yorkist #DNA

As his older brother, the newly crowned King Edward, weakens with illness, Richard, Duke of Gloucester, lays out his plans to take the throne. He frames his brother Clarence for conspiring to kill Edward, then convinces Lady Anne, the widow of the previous King Henry, to marry him, even though he killed her husband and their son. The PLAY ON PODCAST SERIES, “RICHARD THE THIRD”, was written by WILLIAM SHAKESPEARE and translated into modern English verse by MIGDALIA CRUZ. All episodes were directed by LISA ROTHE. Radio play by CATHERINE EATON.   This podcast was recorded under a SAG-AFTRA AGREEMENT.   The cast is as follows:   MATT FRASER                  as    RICHARD THE THIRD MIA KATIGBAK                 as    QUEEN MARGARET, CITIZEN and BLUNT HIRAM DELGADO             as    CLARENCE, DORSET, ELY and MESSENGER NANCY RODRIGUEZ        as    LADY ANNE, OXFORD, RIVERS and A MURDERER RACHEL CROWL              as    QUEEN ELIZABETH, NORFOLK, and MESSENGER SANJIT DE SILVA             as    NESS AQUINO, BUCKINGHAM, and A CITIZEN CHARLES DUMAS            as    EDWARD, HENRY the SIXTH, STANLEY & CARDINAL ANDY LUCIEN       as    HASTINGS, SCRIVENER, a MESSENGER and A MURDERER GABRIELA SAKER           as    CATESBY, DUKE OF YORK and A MESSENGER DANAYA ESPERANZA as BRAKENBURY, RATCLIFFE, LORD MAYOR, TYRREL, and  RICHMOND ALMA CUERVO              as    DUCHESS OF YORK, SHERIFF & A MESSENGER ELIJAH GOODFRIEND  as    PRINCE EDWARD, A PAGE, and A BOY   Casting by THE TELSEY OFFICE: KARYN CASL, CSA.   Voice and Text Coach: JULIE FOH   Original music composition, Mix and Sound Design by LINDSAY JONES. Composer, Producer, Guitars, Bass, Lead Vocals, Recording and Mix Engineer, DAVID MOLINA. EDWIN AYALA on Drums. Backup Vocals by MANUEL TRUJILLA. Sound engineering and mixing by SADAHARU YAGI. Mix Engineer and Dialogue Editor: LARRY WALSH. Podcast Mastering by GREG CORTEZ at New Monkey Studio. Coordinating Producer: TRANSCEND STREAMING (KYRA BOWIE and LEANNA KEYES). Executive Producer: MICHAEL GOODFRIEND.   The Play On Podcast Series “RICHARD THE THIRD” is produced by NEXT CHAPTER PODCASTS and is made possible by the generous support of THE HITZ FOUNDATION. Visit NEXTCHAPTERPODCASTS.COM for more about the Play On Podcast Series. Visit PLAYONSHAKESPEARE.ORG for more about Play On Shakespeare.   Subscribe to Play On Premium for ad-free episodes and join our Patreon for exclusive merchandise and early commercial-free releases. Go to nextchapterpodcasts.com for our Bonus Content, where you'll find interviews with the artists, producers and engineers who brought it all to life. And remember: “We are not safe”. Learn more about your ad choices. Visit megaphone.fm/adchoices

Hello WITSy people, Rebecca and Tori have work and family obligations to take care of this week, so we are re-releasing our Richard III episode to wind up Shakespeare in September. In the second week of October, we'll be back with new episodes created especially for the month of October and in November and December, we'll be doing some Jane Austen and a few Christmas podcasts. We hope you'll join us!

The St. Louis Shakespeare Festival is wrapping up its 25th season with its annual "Shakespeare in the Streets" production. This year, the play “Power” explores East St. Louis — a city that carries the legacy of legendary artists and athletes, as well as the stigma of political corruption and the 1917 Race Massacre. Loosely inspired by Shakespeare's Richard III, “Power” follows "Richard" on his attempted rise to East St. Louis mayor. We talk with actor RobWood, an East St. Louis Native who plays Richard, and the play's director, Kathi Bentley.

Shakespeare's tragedy about an unwelcome outsider who uses his genius to destroy his enemies before they destroy him. Translated into modern English verse by Migdalia Cruz and set in San Francisco at the height of the Latin Punk movement, directed by Lisa Rothe with original music composition and Sound Design by David Molina and Lindsay Jones. Learn more about your ad choices. Visit megaphone.fm/adchoices

From William the Conqueror's battle-winning cavalry to Richard III's fatal final charge, this Long Read written by Oliver H Creighton and Robert Liddiard explores five moments when horsepower changed the course of medieval military history. HistoryExtra Long Reads brings you the best articles from BBC History Magazine, direct to your ears. Today's feature originally appeared in the August 2025 issue, and has been voiced in partnership with the RNIB. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Villain or maligned? In this interview, historical novelist Wendy Johnson—a founding member of Philippa Langley's “Looking for Richard” project—joins me to discuss her debut novel, The Traitor's Son, which traces Richard III's formative decade (1461–1471). We explore: What being close to the 2012 discovery in Leicester changed for her as a writer and Ricardian Why start with boyhood—and what newcomers should unlearn about Richard Fact vs fiction: where the record ends and imagination begins Favourite sources for Edward, George, and Richard Places that shaped the story: Ludlow, Middleham, London Teasers for Books 2 & 3 in the trilogy Plus: Wendy's top Ricardian must-visit sites, the scene she'd film first, and one non-fiction pick to read next. I'm Claire Ridgway. Thanks for watching. Please like, subscribe, and share your thoughts below! #RichardIII #WarsOfTheRoses #HistoricalFiction #LookingForRichard #Plantagenets #MedievalHistory

AMDG. Literature teachers John Turrentine and James Endres want you to love Shakespeare as much as they do. The duo dives deeply into the classic works you've heard of before, giving a fresh perspective on well-known plays, and introduces some of Shakespeare's plays that you may never have heard of before. With their combined 25 years of experience, John and James address Shakespeare readers of all levels. Whether you are picking up a play for the first time or re-reading an old favorite for the thousandth time, this conversation will have something to teach you.  Links mentioned & relevant:  Medieval Shakespeare Study Guide Set Shakespeare The Sonnets Books in Kolbe's Roman Literature course, including Julius Caesar Books in Kolbe's Era of Christendom course, including Richard III,  Macbeth, and The Tempest  Related Kolbecast episodes:  266 New Voice, Handy Catalog with Gwynith DeMonte 177 Tabletop Theology with Alexi Sargeant 3 Dramatic Arts with Dolores Ann Mihaliak  Have questions or suggestions for future episodes or a story of your own experience that you'd like to share? We'd love to hear from you! Send your thoughts to podcast@kolbe.org and be a part of the Kolbecast odyssey.   We'd be grateful for your feedback! Please share your thoughts with us via this Kolbecast survey!  The Kolbecast is available on Apple Podcasts, Spotify, and most podcast apps. By leaving a rating and review in your podcast app of choice, you can help the Kolbecast reach more listeners. The Kolbecast is also on Kolbe's YouTube channel (audio only with subtitles).  Using the filters on our website, you can sort through the episodes to find just what you're looking for. However you listen, spread the word about the Kolbecast! 

Historian Nathen Amin joined me at Harvington History Festival to talk about the marriage of Henry VII and Elizabeth of York, the involvement of their mothers and how the couple themselves felt about it.Watch this episode on Youtube - Click HereSupport this channel, and get lots more history, by joining my Patreon - Patreon.com/BritishHistoryI'd really appreciate your help in making this show the best it can be. I know time is precious but if you do have 10 minutes you can spare to fill out this anonymous listener survey, I'd be really grateful - http://bit.ly/britishhistorypodcast-surveyPhilippa founded award-winning Historic Tour Operator British History Tours in 2014. Find out about these luxury, fully-escorted, immersive historical experiences at BritishHistoryTours.com Hosted on Acast. See acast.com/privacy for more information.

In this week's episode, I delve farther into one of the character's from last week's episode about the War of the Roses: Richard III. Richard is a highly misunderstood historical figure, whose reputation was tainted by later Tudor propaganda during the reigns of Henry VIII and Elizabeth I, the son and granddaughter of his usurper, Henry VII. But how much of that reputation was deserved? And, possibly more interesting, what did we learn from the 2012 discovery of Richard's body crammed unadorned and coffin-less into a too small grave beneath a parking lot in Leicester, England? Let's fix that. Support the show! Join the Patreon (patreon.com/historyfixpodcast)Buy some merchBuy Me a CoffeeVenmo @Shea-LaFountaineSources: Historic UK "The life of King Edward IV"Cambridge University "Deciphering Two Opaque Sources on the Death of King Edward IV of England"History Hit "Bosworth Field - Actual Site"King Richard III Visitor's Center "An Incredible Discovery"University of Leicester "The King's Grave"University of Leicester "Injuries"CNN "Five things we've learned about Richard III since he was found"Shoot me a message!

Ep 261 is loose and we are tackling the huge, haunting mystery at the heart of the War of the Roses - what happened to the princes in the tower?What led to the young boys' disappearance? Was Richard III responsible? And why did all these cousins keeping slapping each other?The secret ingredient is...a tower!Get cocktails, poisoning stories and historical true crime tales every week by following and subscribing to The Poisoners' Cabinet wherever you get your podcasts. Find us and our cocktails at www.thepoisonerscabinet.com Join us Patreon: https://www.patreon.com/thepoisonerscabinet Find us on TikTok: https://www.tiktok.com/@thepoisonerscabinet Follow us on Instagram: https://www.instagram.com/thepoisonerscabinet/ Find us on Facebook: https://www.facebook.com/ThePoisonersCabinet Listen on Youtube: https://www.youtube.com/@ThePoisonersCabinet Sources this week include the extensive Wiki entries for the Princes In The Tower, War of the Roses, Elizabeth Woodville, Henry VII, Richard III, Edward IV, Lambert Simnel and Perkin Warbeck, as well as archives from Historic Royal Palaces, History Journal, BBC Culture, History Today and History Extra. Hosted on Acast. See acast.com/privacy for more information.

Richard III is an early history play probably written and performed around 1592-93. It is the culmination of Shakespeare's earlier three plays about Henry VI, and chronicles the bloody career of Richard, Duke of Gloucester. As the play opens, the Wars of the Roses are over, King Edward IV (Richard's brother) is on the throne, and all is ostensibly well. But Richard wants to be king - and he'll stop at nothing to realize his ambition. This is a dramatic reading.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Richard III is an early history play probably written and performed around 1592-93. It is the culmination of Shakespeare's earlier three plays about Henry VI, and chronicles the bloody career of Richard, Duke of Gloucester. As the play opens, the Wars of the Roses are over, King Edward IV (Richard's brother) is on the throne, and all is ostensibly well. But Richard wants to be king - and he'll stop at nothing to realize his ambition. This is a dramatic reading.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Richard III is an early history play probably written and performed around 1592-93. It is the culmination of Shakespeare's earlier three plays about Henry VI, and chronicles the bloody career of Richard, Duke of Gloucester. As the play opens, the Wars of the Roses are over, King Edward IV (Richard's brother) is on the throne, and all is ostensibly well. But Richard wants to be king - and he'll stop at nothing to realize his ambition. This is a dramatic reading.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Jake and I welcome Julliard graduate and bay area actress Gabriella (Gavi) Goldstein, who was last seen as Queen Elizabeth in Silicon Valley Shakes' Richard III. Gavi has also been on television (So Nova, Canapes and Bury ‘Em Deep). We talk about her upbringing, her education, her views on acting on stage vs on the small screen, and where she sees herself in the future. You can learn more about Gavi via her website: https://www.gabriella-goldstein.com/ You can reach out to Gavi personally via Instagram: @thegavigoldstein The Yay is in partnership with Theatre Bay Area, as it brings back the wildly popular Bay Area Theatre Week, a 10-day celebration, from September 12 to the 22nd, of our vital local theatre community this fall. Audiences are invited to join us for this festival of discounted and free events created by local theatres. This year, Theatre Bay Area is expanding Bay Area Theatre Week offerings to include free events, social mixers, and classes in addition to discounted shows. Throughout the festival, audiences will discover theatre in their neighborhood, support local artists, and enjoy amazing live performances across the Bay. To find out information on all of the shows that TBA's Bay Area Theatre Week is showcasing, click here: https://members.theatrebayarea.org/batwcalendar Alexis Green (Episode 330) has a wonderful product that will improve your mental and spiritual health. It's the Clarity Journal – it's a journal, designed from lived experience - a compassionate tool for anyone seeking deeper emotional awareness. With daily check-ins, a mood wheel, and free-writing spaces, Alexis and her company has created a nurturing environment to help you connect with your true self. As a journal writer myself for many years, I can attest to how soothing it is for me to have a journal – I think it'll work for you too. Check out the Clarity Journal at https://clarity-journals.com/. Kehinde Koyejo (Episodes 214 and 262) has been a friend of mine since 2005, when I stage managed her for the Ray of Light musical, Bat Boy. She's an amazing actress, model and creative artist. She's also an incredible entrepreneur – and I want to introduce you to her business, Kalm Korner. Kalm Korner is an online boutique that specializes in aromatherapy gifts – love rubs, moisturizers, sprays, tea blends and candles. Kalm Korner also sells Choc'late Mama cookies – she brought some over the last time we interviewed her and it was fantastic. Let's support a black female-owned business, a local business and make your first order by going to this website: https://kalmkorner.com/ SHOWS: Two Trains Running (Lower Bottom Playaz) LAST WEEK! Reg Wilkins (Episode 276) is in the show Dr. Ayodele Nzinga (Episode 257) is the director https://www.onthestage.tickets/show/the-lower-bottom-playaz/67be8abea24e940f61dd4990 Little Women (TheatreWorks Silicon Valley) Sept 24 – Oct 12 Eiko Moon-Yamamoto (Episodes 120 & 225) is in the show Sharon Shao (Episode 176) is in the show https://theatreworks.org/ The Day The Sky Turned Orange (SF BATCO) Sept 5 – Oct 5 Julius Rea is a part of the writing team https://www.sfbatco.org/orange?_gl=1*hw20cb*_gcl_au*MTM3MjExODcyMi4xNzQ2ODkxNzQ0*_ga*MTQ1MDQyNzIxNS4xNzQ2ODkxNzQ0*_ga_J4D8M8TLG0*czE3NDY4OTE3NDQkbzEkZzAkdDE3NDY4OTE3NDQkajYwJGwwJGgw Dracula: a Comedy of Terror (City Lights Theatre) Sept 25 – Oct 19 Nick Mandracchia (Episode 43) is in the show https://cltc.org/event/dracula/ The Wisdom of Eve (Altarena Playhouse) Oct 24 – Nov 23 Kimberly Ridgeway (Episodes 155 and 251) directs the play https://www.altarena.org/2025-season-announcement/the-wisdom-of-eve-2025/ Follow us on Facebook and Bluesky (TheYayPodcast)

Shakespeare's Julius Caesar feels urgently contemporary in Rosa Joshi's new production at the Oregon Shakespeare Festival—one of America's largest and longest-running theater festivals, now in its 90th season. Staged in partnership with Seattle's upstart crow collective, the production explores the threat of autocracy, drawing on global histories of dictatorship. Performed entirely by women and nonbinary actors, Joshi's Julius Caesar offers new perspectives on a historically male-dominated political landscape. The result is a fresh reading of Shakespeare's classic tale of power, loyalty, and betrayal. In this episode, Joshi reflects on the production, the politics of performance, and why Shakespeare's plays continue to illuminate moments of crisis. >> Discover more about Julius Caesar at the Oregon Shakespeare Festival From the Shakespeare Unlimited podcast. Published August 25, 2025. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the executive producer. It was edited by Gail Kern Paster. We had help with web production from Paola García Acuña. Leonor Fernandez edits our transcripts. Final mixing services are provided by Clean Cuts at Three Seas, Inc. Rosa Joshi (she/her) is a director, producer and educator. She currently serves as Associate Artistic Director of Oregon Shakespeare Festival. Rosa's directing work spans from Shakespeare to modern classics and contemporary plays. Throughout her career she has created work independently through self-producing, and in 2006 she co-founded upstart crow collective a company that produces classical plays with diverse casts of women and non-binary people. With upstart crow, she has directed King John, Bring Down the House, Richard III, Titus Andronicus, and Coriolanus. She is committed to creating ambitious productions of classical work featuring women, non-binary, and BIPOC artists. As Interim Artistic Director of Northwest Asian American Theatre, Rosa produced a range of Asian American performances, including: A-Fest, an international performance festival; Traces, a world premiere multi-disciplinary, multi-media, international collaborative work. She was also a Resident Director and Artistic Director of the Second Company at New City Theater, where she directed and produced various classical and contemporary plays. Rosa has been a faculty member at Seattle University and has also taught at The Old Globe University of San Diego Shiley Graduate Theatre Program, Hong Kong University, Hong Kong Academy of Performing Arts, and Cornish College for the Arts. Rosa holds an MFA in Directing from the Yale School of Drama and a BA in Theatre and Psychology from Bucknell University.

On 22 August 1485 Henry Tudor met Richard III at Bosworth Field. In a strange battle, Henry's smaller force eventually overcame Richard's army. The Wars of the Roses were all but over after thirty years of murder, warfare and political machinations. In this final episode of our 6 part special, Derek Birks, author of The Guide to the  Wars of the Roses and David Pilling author of Kingbreaker, join to discuss the battle, the factions involved, Henry Tudor and Richard III. Links A Guide to the Wars of the Roses, by Derek Birks Kingbreaker: Rebel and Traitor, by David Pilling Kingmaker Board Game Aspects of History Links Latest Issue out - Annual Subscription to Aspects of History Magazine only $9.99/£9.99 Ollie on X Aspects of History on Instagram Get in touch: history@aspectsofhistory.com Learn more about your ad choices. Visit podcastchoices.com/adchoices

A King clinging to his right to rule. A young Tudor ready to snatch the crown and begin a new dynasty.With immersive sound design and cinematic story-telling; Matt Lewis brings to life one of the pivotal moments in English history—the Battle of Bosworth.On August 22, 1485, Richard III faced off against Henry Tudor, a clash that culminated in the end of the Wars of the Roses and marked a turning point for the English crown. From the strategic moves on the battlefield to the dramatic death of Richard III and the rise of Henry VII, Matt delivers a vivid recounting of the events that reshaped England's monarchy.MORERichard IIIPrinces in the Tower: New Evidence RevealedWatch Matt Lewis at Bosworth on History Hit's YouTube channelGone Medieval is written and presented by Matt Lewis. Sound design by Amy Haddow. The senior producer is Anne-Marie Luff.All music used is courtesy of Epidemic Sounds.Gone Medieval is a History Hit podcast.Sign up to History Hit for hundreds of hours of original documentaries including Matt Lewis' two part documentary on Richard III. Sign up at https://www.historyhit.com/subscribe. You can take part in our listener survey here: https://insights.historyhit.com/history-hit-podcast-always-on Hosted on Acast. See acast.com/privacy for more information.

In August of 1483 a sighting was reported of two young boys playing in the grounds of the Tower of London. Rumours spread that these were the two princes, Edward V and his younger brother Richard Duke of York. It was the last time they were seen again, and ever since, speculation has been rife that their uncle, Richard III had them killed, or, and this is perhaps less likely, they managed to escape abroad. So began the reign of Richard III as Derek Birks, author of the Guide to the Wars of the Roses and David Pilling, author of Kingbreaker join me to discuss the enduring mystery of what happened to the princes. Links A Guide to the Wars of the Roses, by Derek Birks Kingbreaker: Rebel and Traitor, by David Pilling Kingmaker Board Game Aspects of History Links Latest Issue out - Annual Subscription to Aspects of History Magazine only $9.99/£9.99 Ollie on X Aspects of History on Instagram Get in touch: history@aspectsofhistory.com Learn more about your ad choices. Visit podcastchoices.com/adchoices

This episode explores the forgotten women of the Yorkist dynasty - the sisters of Edward IV and Richard III. Anne of York, Elizabeth of York (Duchess of Suffolk), and Margaret of York (Duchess of Burgundy) each lived through the turbulence of the Wars of the Roses and the rise of the Tudors, but their fates were far from simple. From disastrous marriages and confiscated inheritances to sons who defied the Tudors and foreign alliances that reshaped Europe, their stories reveal how dynastic bloodlines continued to haunt Henry VII and Henry VIII long after Bosworth. Hosted on Acast. See acast.com/privacy for more information.

Join us as we dive into Clarence's dream and murder in Shakespeare's Richard III.

Welcome to episode 4 of this 6 part special on the Wars of the Roses. Today's episode sees Richard Neville, Earl of Warwick, the Kingmaker, make plans which soon fall apart. Joining me are two historians, Derek Birks, the author of the Guide to the Wars of the Roses, and David Pilling, author of Kingbreaker. You'll get two episodes per week, and so hopefully will emerge from August with a superior knowledge of a conflict that was an early civil war, and which formed England for the next few hundred years. All the great characters are here, Elizabeth Woodville, Henry VI, Queen Margaret, Warwick the Kingmaker, Edward IV, Richard III and finally Henry Tudor. Links A Guide to the Wars of the Roses, by Derek Birks Kingbreaker: Rebel and Traitor, by David Pilling Kingmaker Board Game Aspects of History Links Latest Issue out - Annual Subscription to Aspects of History Magazine only $9.99/£9.99 Ollie on X Aspects of History on Instagram Get in touch: history@aspectsofhistory.com Learn more about your ad choices. Visit podcastchoices.com/adchoices

Welcome to episode 3 of this 6 part special on the Wars of the Roses. Today Edward IV emerges as the great new hope for the Yorkist cause now that his father, Richard Duke of York is dead. Joining me are two historians, Derek Birks, the author of the Guide to the Wars of the Roses, and David Pilling, author of Kingbreaker. You'll get two episodes per week, and so hopefully will emerge from August with a superior knowledge of a conflict that was an early civil war, and which formed England for the next few hundred years. All the great characters are here, Elizabeth Woodville, Queen Margaret, Warwick the Kingmaker, Edward IV, Richard III and finally Henry Tudor. Links A Guide to the Wars of the Roses, by Derek Birks Kingbreaker: Rebel and Traitor, by David Pilling Kingmaker Board Game Aspects of History Links Latest Issue out - Annual Subscription to Aspects of History Magazine only $9.99/£9.99 Ollie on X Aspects of History on Instagram Get in touch: history@aspectsofhistory.com Learn more about your ad choices. Visit podcastchoices.com/adchoices

Today I'm telling the often forgotten story of Katherine of York, daughter of Edward IV and Elizabeth Woodville, sister to Elizabeth of York and the Princes in the Tower, and aunt to Henry VIII. Katherine's life began in splendour—once betrothed to a Spanish prince, raised at the glittering Yorkist court—but her future was derailed by scandal, political shifts, and personal loss. Declared illegitimate by her uncle Richard III, she was forced into sanctuary with her mother and siblings… but would go on to serve her queenly sister, stand as chief mourner at a royal funeral, and quietly manage vast estates in Devon. In this video, I'll explore: - Her royal childhood and broken Spanish marriage alliance - The impact of Richard III's rise to power - Her marriage to the Earl of Devon and her son's tragic fate - Why she took a vow of chastity — and withdrew from court - And how she styled herself “the excellent Princess Katherine, daughter, sister and aunt of kings” Katherine of York never wore a crown, but she was at the very heart of Plantagenet and Tudor dynasties — living through regime change, rebellion, and royal funerals. #TudorHistory #KatherineOfYork #ForgottenWomen #RoyalHistory #Plantagenets #Yorkists #HenryVIII #ElizabethOfYork #ClaireRidgway #AnneBoleynFiles #OnThisDay

Join us as we dive into Clarence's dream and murder in Shakespeare's Richard III.

Welcome to episode 2 of this 6 part special on the Wars of the Roses as today we deal with the fall of Edward Duke of York. Joining me are two historians, Derek Birks, the author of the Guide to the Wars of the Roses, and David Pilling, author of KingBreaker. You'll get two episodes per week, and so hopefully will emerge from August with a superior knowledge of a conflict that was an early civil war, and which formed England for the next few hundred years. All the great characters are here, Elizabeth Woodville, Queen Margaret, Warwick the Kingmaker, Edward IV, Richard III and finally Henry Tudor. Links A Guide to the Wars of the Roses, by Derek Birks Kingbreaker: Rebel and Traitor, by David Pilling Kingmaker Board Game Aspects of History Links Latest Issue out - Annual Subscription to Aspects of History Magazine only $9.99/£9.99 Ollie on X Aspects of History on Instagram Get in touch: history@aspectsofhistory.com Learn more about your ad choices. Visit podcastchoices.com/adchoices

Was Richard III really the monster Shakespeare painted him to be? Or have centuries of myth and propaganda hidden the man he truly was? In this exclusive interview, I (Claire Ridgway, historian and author) sit down with the creative team behind "A Taste of Loyalty"—a powerful new short film (inspired by Matthew Lewis's novel "Loyalty"), which explores one of the most pivotal (and misunderstood) moments in Richard III's life. Join me as I talk with: - Matt Lewis, historian and novelist - Thomas Dennis, director, screenwriter, and the man portraying Richard III - Tiffany Lunn, composer and musical visionary for the film Together, we discuss: - Why this isn't your typical Richard III story - How they're balancing historical accuracy with powerful storytelling - The challenges and joys of adapting a novel for the screen on a tight budget - The emotional depth behind the music, the costumes, and the character of Richard - Their long-term vision for the project—and how you can help make it happen Whether you're a Ricardian, a Wars of the Roses enthusiast, a lover of historical fiction, or just curious about how history comes alive through film—this conversation is packed with insight, passion, and behind-the-scenes gems. Listen now and meet the team rewriting Richard III's legacy. SUPPORT the film: https://www.indiegogo.com/projects/a-taste-of-loyalty#/ #ATasteOfLoyalty #RichardIII #WarsOfTheRoses #TudorHistory #ClaireRidgway #HistoricalFiction #MattLewis #ThomasDennis #HistoricalFilm #Ricardian #BehindTheScenes #MedievalDrama #RewritingHistory

Welcome to the first of 6 episodes on the Wars of the Roses. Over the next few weeks we'll be starting with the Battle of St. Alban's in 1455, all the way up to the Battle of Bosworth thirty years later in 1485 when Richard definitely said, "A horse! A horse! My kingdom for a horse!" Joining me are two historians, Derek Birks, the author of the Guide to the Wars of the Roses, and David Pilling, author of Kingbreaker. You'll get two episodes per week, and so hopefully will emerge from August with a superior knowledge of a conflict that was an early civil war, and which formed England for the next few hundred years. All the great characters are here: Henry VI, Elizabeth Woodville, Queen Margaret, Warwick the Kingmaker, Edward IV, Richard III and finally Henry Tudor. Links A Guide to the Wars of the Roses, by Derek Birks Kingbreaker: Rebel and Traitor, by David Pilling Kingmaker Board Game The Causes of the Wars of the Roses Aspects of History Links Latest Issue out - Annual Subscription to Aspects of History Magazine only $9.99/£9.99 Ollie on X Aspects of History on Instagram Get in touch: history@aspectsofhistory.com Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week, we continue the saga behind the making of Guns N' Roses' November Rain music video and dive into the bizarre tale of John Murray Spear, a 19th‑century activist‑turned‑spiritualist who claimed the ghost of Benjamin Franklin ordered him to build a “Mechanical Messiah” to usher in a new era of world peace. A listener email tells the story of finding the long lost bones of Richard III under a parking lot.Episode Tabs:The ‘November Rain' music video defined a generation. Inside its ‘bonkers' productionhttps://www.latimes.com/entertainment-arts/tv/story/2022-06-07/novemeber-rain-guns-n-roses-music-video-making-of-30th-anniversaryInterview: John Benedict Buescher - Author of The Remarkable Life of John Murray Spearhttps://www.strange-phenomenon.com/john-benedict-buescher-transcriptListener Tabs:Art of @nn-ee-zzhttps://www.tumblr.com/nn-ee-zz/786542016059310080/hiii-i-was-just-wandering-if-you-wouldnt-mindRichard III: Discovery and Identificationhttps://le.ac.uk/richard-iii/discoveryEmail your closed tab submissions to: 500opentabs@gmail.comSupport us on Patreon: https://www.patreon.com/500OpenTabs500 Open Roads (Google Maps episode guide): https://maps.app.goo.gl/Tg9g2HcUaFAzXGbw7Continue the conversation by joining us on Discord! https://discord.gg/8px5RJHk7aSUPPORT THE SHOW and get 40% off an annual subscription to Nebula by going to nebula.tv/500opentabsSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Join us as we dive into Clarence's dream and murder in Shakespeare's Richard III. Featuring Geoffrey Wade (DIRECTOR), Gideon Rappaport (DRAMATURG), Peter Van Norden (CLARENCE), Aubrey Saverino (FIRST MURDERER) and Dan Cordova (SECOND MURDERER).

The Untold Story of Sir Reginald Bray - He wasn't a king… but he helped make one. Sir Reginald Bray may not be a household name, but this quiet powerhouse of the Tudor court knew Henry VII from boyhood, helped plan the invasion that toppled Richard III, and then served as one of the most powerful men in England. - Chancellor of the Duchy of Lancaster - Spymaster - Master of royal revenues - Patron of grand Tudor architecture - Head of the dreaded Council Learned in the Law From buying young Henry Tudor his first bow and arrows… to financing the very rebellion that launched a dynasty… to managing the wealth and secrets of a king — Bray was everywhere. In this episode of On This Day in Tudor History, I explore the fascinating life and legacy of Sir Reginald Bray, who died on 5 August 1503. Discover the man behind the monarch — the loyal servant who helped build the Tudor world from the shadows. Watch now to learn how one administrator helped shape a dynasty. Like, subscribe, and comment: Had you heard of Reginald Bray before today? Want even more hidden Tudor figures and behind-the-scenes power players? Browse the channel and join my Tudor inner circle through memberships! #TudorHistory #OnThisDay #HenryVII #SirReginaldBray #MargaretBeaufort #BattleOfBosworth #TudorCourt #ClaireRidgway #TudorSecrets #HistoryYouTube #HiddenFigures #TudorDynasty

John Scrope, 5th Baron Scrope of Bolton   This Tudor baron backed the losing side again and again… and still kept his head. Today, I'm exploring the incredible life of John Scrope, 5th Baron Scrope of Bolton — a nobleman who seemed to have nine lives. He fought at Towton, rebelled against Edward IV, supported Richard III, backed the pretender Lambert Simnel against Henry VII, and even attacked York... And yet, he was pardoned. Every. Single. Time. So, how did he do it? Was Scrope a master strategist, politically untouchable, or just plain lucky? Join me as I uncover: - Scrope's wild ride through the Wars of the Roses - His rebellion, capture, and miraculous reprieves - The secret to his Tudor survival streak Let me know in the comments — was Scrope savvy, slippery, or just well-connected? Don't forget to like, subscribe, and ring that bell for more Tudor tales like this one. #JohnScrope #TudorHistory #WarsOfTheRoses #HenryVII #RichardIII #LambertSimnel #AnneBoleynFiles #HistoryNerd #MedievalSurvivor #OnThisDay #BritishHistory

July 17, 1674. During renovations at the Tower of London, construction workers digging beneath a stone staircase make a chilling discovery—two child-sized skeletons buried ten feet underground. And King Charles II believes he knows who they are. The remains reignite one of the most enduring mysteries in British history: the fate of the Princes in the Tower. For over 500 years, historians have debated what happened to King Edward V and his younger brother, Prince Richard. Were they murdered—perhaps by their uncle, Richard III? Or did they simply vanish from the historical record? This week, Sally Helm speaks with Philippa Langley, author of The Princes in the Tower: Solving History's Greatest Cold Case. Langley shares why she believes we've been looking at this mystery the wrong way—and how new evidence could finally bring the truth to light. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Blake Ellis is the Artistic Director and Managing Producer of Chanticleer Shakespeare Co. in Fresno. He joins the program for a few segments. First, Blake discusses how Chanticleer Shakes came about, his impressive "triad of power" artistic team, why theatergoers often "fear" Shakespeare (they shouldn't!) and how their debut production, Richard III, was received. The Christopher Gabriel Program ----------------------------------------------------------- Please Like, Comment and Follow 'The Christopher Gabriel Program' on all platforms: The Christopher Gabriel Program is available on the KMJNOW app, Apple Podcasts, Spotify, YouTube or wherever else you listen to podcasts. --- The Christopher Gabriel Program | Website | Facebook | X | Instagram | --- Everything KMJ KMJNOW App | Podcasts | Facebook | X | Instagram See omnystudio.com/listener for privacy information.

A look at this summer's Richard III and a comparison between Shakespeare's Richard and History's Richard!Acting Credits:Richard III--James LucasLady Anne--Doll PiccottoSir Thomas More--James LucasPoem: "Richard" by Carol Anne DuffyPerformed by James Lucas

Why do we know so little about Anne Neville, despite her significant role in history?Anne Neville led a life shaped by power, tragedy, and shifting allegiances. Daughter of the formidable Warwick the Kingmaker, Anne was widowed at 15 before marrying Richard, Duke of Gloucester - later Richard III. Crowned alongside him in a dazzling coronation, Anne's reign was brief and marred by heartbreak, especially after the death of her only son.Matt Lewis reflects on Anne Neville's life of resilience and sorrow - and the political and social dynamics of Medieval women in power - with historian Joanna Laynesmith.MoreA Voice for Richard IIIhttps://open.spotify.com/episode/0KhcblgXYqBTqfMAaAG18uThe Wars of the Roses: Originshttps://open.spotify.com/episode/3DHhrD90zRN0IppdA29QXkGone Medieval is presented by Matt Lewis. It was edited by Amy Haddow, the producer is Rob Weinberg. The senior producer is Anne-Marie Luff.All music used is courtesy of Epidemic Sounds.Gone Medieval is a History Hit podcast.Sign up to History Hit for hundreds of hours of original documentaries, with a new release every week and ad-free podcasts. Sign up at https://www.historyhit.com/subscribe. You can take part in our listener survey here: https://insights.historyhit.com/history-hit-podcast-always-on

Merriam-Webster's Word of the Day for April 28, 2025 is: alacrity • uh-LAK-ruh-tee • noun Alacrity refers to a quick and cheerful readiness to do something. // She accepted the invitation to go on the trip with an alacrity that surprised her parents, who had assumed she wouldn't be interested. See the entry > Examples: “Antipater, about to mount his horse, saw Pollio and Sameas so close to him that the sleeve of Sameas almost touched his own in the crush. … Antipater had graciously invited the two to view his new grandson and sip a cup of wine cooled by snow brought from Mount Hermon. The two accepted with alacrity.” — Zora Neale Hurston, The Life of Herod the Great, 2025 Did you know? “I have not that alacrity of spirit / Nor cheer of mind that I was wont to have,” says William Shakespeare's King Richard III in the play that bears his name. Alas and alack, Richard! Alacrity comes from the Latin word alacer, meaning “lively” or “eager,” and suggests physical quickness coupled with eagerness or enthusiasm. Thus, a spirit that lacks alacrity—like Richard III's—is in the doldrums, in need of a little (to use a much less formal word than alacrity) get-up-and-go.

Ever since Shakespeare wrote his tragedy on Richard III the world has thought of him as an evil king with a shriveled soul. But is that actually unjust?See omnystudio.com/listener for privacy information.

Who was Lambert Simnel—the boy who nearly claimed the Tudor throne? In late 15th-century England, identity wasn't just a matter of birth—it could be a political weapon, a tool for rebellion, and sometimes, an outright performance. The story of Simnel, a boy plucked from obscurity and passed off as the York heir, reveals how precarious the Tudor dynasty really was—and how easily the lines between truth and fiction could blur. Author Jo Harkin joins us to explore the strange life of Simnel, the so-called Yorkist “pretender” who nearly toppled Henry VII. In her new novel The Pretender, Harkin imagines Simnel's life beyond the history books, from his childhood on a farm to his years at court. Along the way, she unpacks what it meant to be groomed for kingship, what royal power struggles looked like from a child's point of view, and how historical fiction can fill in the gaps of the past. Though Shakespeare never wrote a play about Henry VII, his portrayal of Richard III helped shape how we remember the Wars of the Roses—and how we understand power, myth, and legacy. Harkin reflects on those cultural inheritances, showing how writing about this era means grappling with historical facts and the fictions we've come to accept. Simnel's story reminds us that what endures isn't always what's real, but what people are ready to believe. Jo Harkin's debut speculative fiction novel, Tell Me An Ending, was a New York Times Book of the Year. Her first historical novel, The Pretender, was published in April 2025 in the U.K. and the U.S. She lives in Berkshire, England. From the Shakespeare Unlimited podcast. Published April 22, 2025. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the executive producer. It was edited by Gail Kern Paster. We had help with web production from Paola García Acuña. Leonor Fernandez edits our transcripts. Final mixing services are provided by Clean Cuts at Three Seas, Inc.