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drpetekirwan.bsky.social
Pete Kirwan
@drpetekirwan.bsky.social
1.2K followers 380 following 63 posts
Performance, theatre reviewing, early modern drama, film watching, editing, cat wrangling, immigrating. General Editor at Shakespeare Bulletin; professing at Mary Baldwin Uni. He/him
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Reposted by Pete Kirwan
shaxbull.bsky.social
Katie O’Hare reviews The Guthrie Theater’s 2024 productions of Richard II, Henry IV, and Henry V, dir. Joseph Haj.

🎭: www.guthrietheater.org/shows-and-ti...

📰: muse.jhu.edu/article/971400

📷: Dan Norman
An image of King Henry IV (William Sturdivant) and the Earl of Douglas (David Whalen) mid-combat with the text “Committing to seeing these plays all in one day developed an immersive, sporting, competitive element both in the plays and between them that might not be achieved through seeing them individually [...] History was being played out in the Guthrie Theater, and the desire to cross the finish line was palpable by the end.” over a blue background with the SB logo.
November 5, 2025 at 3:43 AM
Reposted by Pete Kirwan
shaxbull.bsky.social
Hanh Bui reviews the Royal Shakespeare Company’s 2024 production of Pericles, dir. Tamara Harvey.

🎭: www.rsc.org.uk/pericles/pas...

📰: muse.jhu.edu/article/971401

📷: Johan Persson
An image of Pericles (Alfred Enoch) cradling Thaisa (Leah Haile) with the text “[W]hile the production did not directly register the world “right now,” it vastly succeeded in bringing to life Harvey’s vision of one family’s resilience against monumental, almost mythical odds. Through a combination of expert staging, design, and performances, this Pericles illuminated the human drive to persevere—and the equally compelling urge to share such stories of survival.” over a blue background with the SB logo.
November 5, 2025 at 3:43 AM
Reposted by Pete Kirwan
shaxbull.bsky.social
Scott Shepherd reviews Oh! Ophelia, Ophelia, presented by Choi Sung-ok’s Meta-dance Project as part of the 2024 K Stage Festa at Myeongdong Theater.

📰: muse.jhu.edu/article/971399

📷: Sang Hoon Ok
An image of Ophelia (Lee Ji-soo) dancing, with Hamlet (Kim Jae-min) behind her, with the text “[...] Oh! Ophelia, Ophelia offered an intricate version of Hamlet—a delicate rewriting which revealed a deep understanding of the play—and provided a more enjoyable experience than many conventional performances of Hamlet that I have attended.” over a blue background with the SB logo.
November 4, 2025 at 12:51 AM
Reposted by Pete Kirwan
shaxbull.bsky.social
Justin B. Hopkins reviews New York Circus Project’s 2024 production of Hamlet, created by Sam Landa and Emma Owens.

🎭: www.newyorkcircusproject.org/hamlet

📰: muse.jhu.edu/article/971397

📷: Steve Sarafian
An image of Rosencrantz (Asom Hayman-Jones) and Guildenstern (Glenn Doyle) holding Hamlet (Maddox Morfit-Tighe) parallel to the floor with the text “[...] the thoughtful integration of circus acts throughout the production, choreographed by Landa and Danielle Diniz, successfully illustrated the dynamic emotions of the play’s characters, in some cases surpassing even what the script offered.” over a blue background with the SB logo.
November 4, 2025 at 12:51 AM
Reposted by Pete Kirwan
shaxbull.bsky.social
NEW ISSUE KLAXON: Shakespeare Bulletin 43.1 is now published! Now fully open access, this issue features a cluster of essays edited by Louise Geddes and Nora J. Williams reflecting on casting, race, community, and tragedy in productions performed on and off Broadway.

📰: muse.jhu.edu/issue/55715
October 10, 2025 at 4:43 PM
Reposted by Pete Kirwan
benbroadribb.bsky.social
Best of all, this issue is published Open Access, so all of these reviews are available to anyone who wants to read them - no institutional access necessary! 🙌
October 10, 2025 at 5:22 PM
Reposted by Pete Kirwan
hopkinspress.bsky.social
It's a new issue of Shakespeare Bulletin, and it's free to read!

#S20 #OpenAccess via @projectmuse.bsky.social

#shakespeare #theater #academicsky
shaxbull.bsky.social Shakespeare Bulletin @shaxbull.bsky.social · Oct 10
NEW ISSUE KLAXON: Shakespeare Bulletin 43.1 is now published! Now fully open access, this issue features a cluster of essays edited by Louise Geddes and Nora J. Williams reflecting on casting, race, community, and tragedy in productions performed on and off Broadway.

📰: muse.jhu.edu/issue/55715
October 10, 2025 at 5:09 PM
Reposted by Pete Kirwan
benbroadribb.bsky.social
A fantastic Performance Reviews section in 43.1, with pieces from @terribourus.bsky.social, @davidcottis.bsky.social, @joestephenson.bsky.social, Justin B. Hopkins, Suzy Lawrence, Scott Shepherd, Katie O'Hare, @hanhbuiwrites.bsky.social, @emmakatwood.bsky.social, Olivia Soileau, and Laurie Maguire.
shaxbull.bsky.social Shakespeare Bulletin @shaxbull.bsky.social · Oct 10
NEW ISSUE KLAXON: Shakespeare Bulletin 43.1 is now published! Now fully open access, this issue features a cluster of essays edited by Louise Geddes and Nora J. Williams reflecting on casting, race, community, and tragedy in productions performed on and off Broadway.

📰: muse.jhu.edu/issue/55715
October 10, 2025 at 5:21 PM
drpetekirwan.bsky.social
Just got something like my 19th and 20th emails from Bloomsbury asking me to opt-in to the addendum licensing my work for AI, and am hoping that if I keep ignoring the machines chasing me for an answer, they’ll be too busy to go stealing our stuff. That’s how it works right?
September 8, 2025 at 11:55 PM
Reposted by Pete Kirwan
tetzoo.bsky.social
I am opposed to AI products and services because of the extra power they require... IN A CLIMATE CRISIS. I am opposed to AI results - texts and illustrations - because they've been created unethically, via theft and non-consensual use of the work of others. Share if you agree.
September 7, 2025 at 10:16 AM
Reposted by Pete Kirwan
danielwcarlson.bsky.social
We built a calculator that doesn't work, but don't worry, it's also a plagiarism machine that will tell you to kill yourself. It runs on the world's oceans and costs 10 trillion dollars.
August 29, 2025 at 6:24 PM
Reposted by Pete Kirwan
earlytheatre.bsky.social
Our newest edition is out now! ✏️ (4/4)

Building on our earlier conversation, this concluding thread reveals what more you can find in our latest issue (28.1)! #StayInformed #ExcitingNews
August 28, 2025 at 10:00 PM
Reposted by Pete Kirwan
anthonymoser.com
I considered writing a long carefully constructed argument laying out the harms and limitations of AI, but instead I wrote about being a hater. Only humans can be haters.
I Am An AI Hater
I am an AI hater. This is considered rude, but I do not care, because I am a hater.
anthonymoser.github.io
August 27, 2025 at 5:04 PM
Reposted by Pete Kirwan
gsoh31.bsky.social
This is one of the most tin-eared and jargon-fueled things I have ever read. Apparently the chaos in Higher Education is a 'painful' 'realignment' towards 'efficiencies' that calls on us to be 'agile'. Hahahahaha. Did an AI write this? Unimpressive: a C-. www.timeshighereducation.com/opinion/uk-f...
The UK funding crisis may just see the emergence of a stronger sector
A systemic realignment is under way that, while painful, could lead to more efficient and adaptable provision, say Jonathan Barton and Mike Boxall
www.timeshighereducation.com
August 5, 2025 at 8:08 AM
Reposted by Pete Kirwan
starcrossed2018.bsky.social
Stop doing this! Whoever is paying @timeshighered.bsky.social‬ for story after story is also funding environmental vandalism on a catastrophic scale. This isn't journalism, it's naive ethical bankruptcy - and intellectually and pedagogically obtuse.
August 5, 2025 at 10:37 AM
drpetekirwan.bsky.social
Just aghast at people saying ‘student loans shouldn’t be forgiven because that’s unfair on people who already paid theirs off’. Others must suffer because I had to? This particularly toxic perversion of ‘fairness’ hits hard against empathy, grace, or any higher level social care.
July 18, 2025 at 11:27 AM
drpetekirwan.bsky.social
This is an excellent book which you all should buy.
eoinprice.bsky.social Eoin Price @eoinprice.bsky.social · Jun 28
After a very long time, a collection I have been co-editing is very nearly ready to go into production. It is about reprints, revivals & dramatic renewal in 16th and 17th century English drama. Below you can see the book abstract and also the abstract for my chapter.
Abstracts and Keywords for Reprints and Revivals of Renaissance Drama Book Abstract Studies of early modern drama in print and performance have often prioritized – or even fetishized – first editions and first performances. Offering a challenge to ingrained assumptions about chronology, this collection urges a refocusing of critical attention towards the various ways that Renaissance drama was repeated and renewed. Through a variety of case studies focusing on print and performance, the collection ranges widely across the period, considering canonical plays and authors outside of the contexts in which they are ordinarily viewed. The volume also demonstrates the significance of texts and authors that have been critically neglected thereby challenging entrenched attitudes to the early modern dramatic canon. Chapter 3 Abstract The Malcontent and the Records of Revival Eoin Price John Marston’s The Malcontent was first performed in 1603 by the Children of the Chapel Royal at the Blackfriars. It was quickly appropriated by the King’s Men, who performed it at the Globe the following year. It was printed three times in 1604, but there were no further editions and neither is there any evidence of the play being performed again until 1635, when the diarist John Greene records a performance by the King’s Men at the Blackfriars on Saturday 28 February. This chapter considers the fragmentary remains of Greene’s diary and asks what it might tell us about the early performance history of The Malcontent and the wider practice of revival in early modern London while also reflecting on the challenges faced by scholars who attempt to interpret evidence, or the lack thereof. Chapter 3 Keywords John Marston, Caroline drama, audience, the Globe, Blackfriars, the Cockpit, the King's Men, repertory
June 28, 2025 at 12:52 PM
Reposted by Pete Kirwan
eoinprice.bsky.social
After a very long time, a collection I have been co-editing is very nearly ready to go into production. It is about reprints, revivals & dramatic renewal in 16th and 17th century English drama. Below you can see the book abstract and also the abstract for my chapter.
Abstracts and Keywords for Reprints and Revivals of Renaissance Drama Book Abstract Studies of early modern drama in print and performance have often prioritized – or even fetishized – first editions and first performances. Offering a challenge to ingrained assumptions about chronology, this collection urges a refocusing of critical attention towards the various ways that Renaissance drama was repeated and renewed. Through a variety of case studies focusing on print and performance, the collection ranges widely across the period, considering canonical plays and authors outside of the contexts in which they are ordinarily viewed. The volume also demonstrates the significance of texts and authors that have been critically neglected thereby challenging entrenched attitudes to the early modern dramatic canon. Chapter 3 Abstract The Malcontent and the Records of Revival Eoin Price John Marston’s The Malcontent was first performed in 1603 by the Children of the Chapel Royal at the Blackfriars. It was quickly appropriated by the King’s Men, who performed it at the Globe the following year. It was printed three times in 1604, but there were no further editions and neither is there any evidence of the play being performed again until 1635, when the diarist John Greene records a performance by the King’s Men at the Blackfriars on Saturday 28 February. This chapter considers the fragmentary remains of Greene’s diary and asks what it might tell us about the early performance history of The Malcontent and the wider practice of revival in early modern London while also reflecting on the challenges faced by scholars who attempt to interpret evidence, or the lack thereof. Chapter 3 Keywords John Marston, Caroline drama, audience, the Globe, Blackfriars, the Cockpit, the King's Men, repertory
June 28, 2025 at 12:03 PM
Reposted by Pete Kirwan
britgrad.bsky.social
Our next plenary speaker is...Dr Peter Kirwan ✨ Dr Kirwan specialises in the textual and performance afterlives of early modern plays and will be speaking about reviewing Shakespeare at BritGrad. Tickets here! bit.ly/4dP3IqQ
June 6, 2025 at 11:03 AM
Reposted by Pete Kirwan
shaxbull.bsky.social
If you're interested in production photography, check out your local library! Kimball’s recommendation is William Kenyon’s Theater & Stage Photography: A Guide to Capturing Images of Theatre, Dance, Opera, and Other Performance Events.
May 19, 2025 at 4:16 PM
Reposted by Pete Kirwan
shaxbull.bsky.social
The online version of the NYT story about Brave Spirits's closing: www.nytimes.com/2020/12/29/t...
Lost in 2020: Epic Shakespeare, and the Theater That Planned It (Published 2020)
www.nytimes.com
May 19, 2025 at 4:16 PM
Reposted by Pete Kirwan
shaxbull.bsky.social
ArenaPAL hosts a fascinating collection of production photography by Laurence Burns: www.arenapal.com/photographer...
ArenaPAL Performing Arts Images Library | Commercial Picture Licensing of Rights Managed Content and Subscription Services
ArenaPAL Performing Arts Images Library offers access to stock imagery across historic and contemporary stage performances covering theatre images, opera pictures, music, ballet, dance, classical musi...
www.arenapal.com
May 19, 2025 at 4:16 PM
Reposted by Pete Kirwan
shaxbull.bsky.social
Brave Spirits Theatre's production archive is available on the company website: www.bravespiritstheatre.com/resources/
Archive & Academic Resources - Brave Spirits Theatre
[columnsection wrapper=”wrapper” layout=”one-fourth;three-fourth” spacing=”spaced-normal” animation=”no-anim” valign=”0″…
www.bravespiritstheatre.com
May 19, 2025 at 4:16 PM
Reposted by Pete Kirwan
shaxbull.bsky.social
"In my work at Brave Spirits Theatre, as both the resident dramaturg and production photographer, I had helped to build an archive of documents and photographs which memorialized our performances of early modern drama over several years.
“The reality of the company’s closure, however, prompted me to reflect on the choices I had made behind the lens and consider how they were informed by my viewpoint as a dramaturg. The essay argues that my dual role strengthened the company’s archival legacy and that fellow practitioners can use photography to integrate more collaborative perspectives into the record of early modern drama in performance." over a dark orange background with the SB logo.
May 19, 2025 at 4:16 PM
Reposted by Pete Kirwan
shaxbull.bsky.social
"This essay developed in the wake of the pandemic when the theater company I’d been collaborating with suddenly closed due to the strains of lockdown.
May 19, 2025 at 4:16 PM