Here are 100 books that What Is a Playhouse? England at Play, 1520-1620 fans have personally recommended if you like
What Is a Playhouse? England at Play, 1520-1620.
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I have been fascinated with Queen Elizabeth I and Shakespeare since I was a child and read a kid biography of the queen and saw a Shakespearean comedy. The two topics are completely intertwined—Elizabeth saw Shakespeare’s plays at court and the strong women in Shakespeare’s plays reflect the queen. Elizabeth and Shakespeare have been both my passion and my profession. I have loved teaching and writing about them. One of my favorite things to do is to go see Shakespeare plays and to see portraits of the queen at museums. This passion has so enriched my life. The queen and the playwright have been very good to me.
Gorgeously illustrated and elegantly written, Lena Orlin’s new study of William Shakespeare shows her great skill at doing research to give us new ways to understand the playwright. She puts the evidence of his life within the context of other Elizabethan documents. Orlin proves that we can know more about Shakespeare by examining the lives of the people in his circles. As she tells us, this is neither a literary biography nor a full biography, but it is a book that follows the evidence to tell us much more about Shakespeare the man. Shakespeare cared deeply about his father and his marriage to Anne was much less contentious and a more pleasant partnership. Though there have been so many books about Shakespeare, Orlin helps us understand him beyond the myths. Her brilliant and thorough reading of documents presents a wonderful read.
A new biography of William Shakespeare that explores his private life in Stratford-upon-Avon, his personal aspirations, his self-determination, and his relations with the members of his family and his neighbours.
The Private Life of William Shakespeare tells the story of Shakespeare in Stratford as a family man. The book offers close readings of key documents associated with Shakespeare and develops a contextual understanding of the genres from which these documents emerge. It reconsiders clusters of evidence that have been held to prove some persistent biographical fables. It also shows how the histories of some of Shakespeare's neighbours illuminate aspects of…
The Victorian mansion, Evenmere, is the mechanism that runs the universe.
The lamps must be lit, or the stars die. The clocks must be wound, or Time ceases. The Balance between Order and Chaos must be preserved, or Existence crumbles.
Appointed the Steward of Evenmere, Carter Anderson must learn the…
I’m a Shakespeare scholar with a particular interest in theatre history and the repertories of the London commercial playing companies of the late-sixteenth and early-seventeenth centuries. I’m particularly fascinated by the hundreds of plays written during this period that have not survived, whether as the result of fire, vandalism, censorship, or more mundane causes like a lack of interest in or opportunity for publication. The surviving plays from the period are the distinct minority; yet the plays lost to us were known to Shakespeare and his contemporaries, who often wrote in response to what else was being performed across London.
In the wake of Knutson’s work, a number of seminal studies of individual playing companies from Shakespeare’s London have appeared, but I particularly value Manley and MacLean’s for the prominence they give to the role of lost plays in the repertory of Lord Strange’s Men. This book normalised the understanding that if one is to study a company—its patron, its players, its performance venues (including touring), and its style—then one cannot do so without attending to the plays once performed by the company but which have since been lost.
For a brief period in the late Elizabethan Era an innovative company of players dominated the London stage. A fellowship of dedicated thespians, Lord Strange's Men established their reputation by concentrating on "modern matter" performed in a spectacular style, exploring new modes of impersonation, and deliberately courting controversy. Supported by their equally controversial patron, theater connoisseur and potential claimant to the English throne Ferdinando Stanley, the company included Edward Alleyn, considered the greatest actor of the age, as well as George Bryan, Thomas Pope, Augustine Phillips, William Kemp, and John Hemings, who later joined William Shakespeare and Richard Burbage in…
I’m a Shakespeare scholar with a particular interest in theatre history and the repertories of the London commercial playing companies of the late-sixteenth and early-seventeenth centuries. I’m particularly fascinated by the hundreds of plays written during this period that have not survived, whether as the result of fire, vandalism, censorship, or more mundane causes like a lack of interest in or opportunity for publication. The surviving plays from the period are the distinct minority; yet the plays lost to us were known to Shakespeare and his contemporaries, who often wrote in response to what else was being performed across London.
Not all archival work entails Indian Jones-style quests for hidden treasures; Steggle’s book—written at a crucial point when digital databases such as Early English Books Online and Google Books were accessible but rarely utilised to their maximum capabilities—proved how much crucial knowledge is hiding in plain sight. Steggle used a variety of search strategies to solve cruxes and mysteries that have plagued theatre historians for centuries, recovering the subject matter of lost plays that scholars routinely ignored on account of their opaque titles and scant evidence.
This book establishes new information about the likely content of ten lost plays from the period 1580-1642. These plays' authors include Nashe, Heywood, and Dekker; and the plays themselves connect in direct ways to some of the most canonical dramas of English literature, including Hamlet, King Lear, The Changeling, and The Duchess of Malfi. The lost plays in question are: Terminus & Non Terminus (1586-8); Richard the Confessor (1593); Cutlack (1594); Bellendon (1594); Truth's Supplication to Candlelight (1600); Albere Galles (1602); Henry the Una (c. 1619); The Angel King (1624); The Duchess of Fernandina (c. 1630-42); and The Cardinal's Conspiracy…
Magical realism meets the magic of Christmas in this mix of Jewish, New Testament, and Santa stories–all reenacted in an urban psychiatric hospital!
On locked ward 5C4, Josh, a patient with many similarities to Jesus, is hospitalized concurrently with Nick, a patient with many similarities to Santa. The two argue…
I’m a Shakespeare scholar with a particular interest in theatre history and the repertories of the London commercial playing companies of the late-sixteenth and early-seventeenth centuries. I’m particularly fascinated by the hundreds of plays written during this period that have not survived, whether as the result of fire, vandalism, censorship, or more mundane causes like a lack of interest in or opportunity for publication. The surviving plays from the period are the distinct minority; yet the plays lost to us were known to Shakespeare and his contemporaries, who often wrote in response to what else was being performed across London.
This is the book that inaugurated a whole field of Shakespeare studies—repertory studies—that focuses on the commercial concerns of the London playing companies, treating plays as commodities used by companies to make money, and examining the strategies used by companies to remain competitive in the theatrical marketplace. Knutson’s work de-emphasises the significance of playwrights and focuses instead on playing companies.
Most modern scholars regard William Shakespeare and his repertory company as the pre-eminent theatre group of its day; Roslyn Lander Knutson contends that they were also practical entrepreneurs who both shaped and responded to current theatrical tastes and whose playhouse practices closely paralleled those of their competitors. In ""The Repertory of Shakespeare's Company"" Knutson demystifies Shakespeare and his company by providing a clear vision of the dynamics of play production and play-going in Shakespeare's England, taking Shakespeare and his company down from their lofty pedestal where Victorian scholars placed them. She argues that Shakespeare and his company should not be…
You get more mums than dads in books for young readers. Perhaps that’s understandable. Mums still loom largest in the lives of younger children. One way or another, it would be good to have more fathers present in the lives of children, and it would be good to have more fathers in children’s books. So I’ve chosen five books featuring fathers who are both at the centre of the story and more alive than the caricatures. The books are ordered roughly by age of the reader: younger first, older last. I hope there’s something new for you to find and enjoy.
It’s raining. Pete can’t go out to “play ball with the guys.” So he’s in a bad mood. His father thinks it might cheer Pete up to be made into a pizza. He’s right, of course! Dad kneads him and twirls him up in the air. He sprinkles on cheese (actually torn-up bits of paper) and puts him in the oven (actually the sofa).
This is a celebration of the parents’ trick of distracting a grumpy child with a bit of zany humour. (Best trick in the book, as far as I’m concerned.) And what a wonderfully loving, inventive, energetic dad William Steig has created! Pete laughs “like crazy”. And the sun comes out at the end.
Pete's father starts kneading the dough. Next, some oil is generously applied. (Its really water.) And then some tomatoes. (They're really checkers.) When the dough gets tickled, it laughs like crazy.
I can’t count the number of conversations where I’ve been asked to slow down, or take a breath, or talk in a straight line. My neurodivergent heroes are versions of me: me if I were an alien, or a dying old lady, or a zombie. Gus is the closest I’ve come yet to writing my true self. He’s just me. I want readers who identify with Gus to feel seen and accepted and those who don’t—to understand what it’s like to live like this. And, just maybe, to have a little fun along the way.
Tom is the hero we need today. I love characters who know who they are and don’t care what others think of them. And I value ‘fun’ as a goal.
Tom just wants to fool around and yawns at his aunt’s disapproval. The contests between Tom and his aunt’s champion, Captain Najork, are the best descriptions of games I’ve ever read, especially when you consider that the games themselves are invented out of whole cloth and the words applied seemingly at random.
Tom is so good at fooling around that he does little else. His Aunt Fidget Wonkham-Strong, who thinks this is too much like having fun, calls upon the fearsome Captain Najork and his hired sportsmen to teach him a lesson. So the Captain challenges Tom to three rounds of womble, muck, and sneedball, certain that he will win. However, when it comes to fooling around, Tom doesn't fool around, and his skills prove so polished that the results of the contest are completely unexpected...
A Duke with rigid opinions, a Lady whose beliefs conflict with his, a long disputed parcel of land, a conniving neighbour, a desperate collaboration, a failure of trust, a love found despite it all.
Alexander Cavendish, Duke of Ravensworth, returned from war to find that his father and brother had…
As a children’s book author, a parent and a teacher for small children, one of the greatest things about children’s media is the friendships that develop among some of the most unusual characters. Like a sea sponge and a starfish in SpongeBob Squarepants, a mouse, and a dog with Mickey Mouse and Pluto. This of course extends into children’s books and it’s an extension of how young children don’t concern themselves with how different the other person is, they focus on what is the same. Something people should hold onto as they grow but often don’t.
Betty and Maude are best friends, but their favorite toys, Duck and Penguin, are not. Together, they play but not so nicely. They destroy each other’s sand castles, paint each other when they are supposed to be painting pictures. Eventually they realize they have a lot more in common than they know and really do become good friends. What I really loved about this book is that sometimes friendship is complicated, and you don’t like each other right away.
The art is simple but expressive and fun to look at. Julia Woolf has the perfect style to bring these characters to life. This is just a cute and fun picture book, perfect for reading to a group at storytime.
Betty and Maud are the best of friends, and so surely their stuffed toys are too! But despite what Betty and Maud might think, Duck and Penguin are definitely NOT friends. They do not want to swing together, they do not want to cook together, and they certainly DO NOT want to play baby dolls together...
A side-splitting insight into the secret world of toys, from former Dreamworks animator and illustrator Julia Woolf.
I’ve published many books for children, but this one is truly special. The Everybody Club is a collaboration with my dear friend Linda Hayen in memory of her daughter, Carissa. As a child, Carissa started a real-life Everybody Club. The first members were toys, dolls, the family cat, and her brothers, one of whom had severe disabilities. Carissa died in a car accident at the age of 16, and this book is Linda’s way of sharing her daughter’s generous spirit with the world. A note for adults at the end of the book shares this backstory.
What can a circle be? It can be a ball, a bike tire, a bubble, a cookie, a balloon… A circle can also be people joined together in the spirit of love and acceptance. Circle Round has few words, but the illustrations pull readers into a world full of activity and fun. It’s a counting book that is both playful and profound.
At the end of the book, I felt I was part of the circle myself.
A circle of children ask others to join in their play and soon find out that inclusion is irresistible!
From the author of I'm New Here and Someone New comes an inspiring new story of inclusion. One child in a park waves over a second child. Two children then wave over a third. Counting from one to ten, a growing circle of children see new faces outside the group and invite them over. Children of different abilities, ages, genders, and races demonstrate how easy it can be to expand your group, extend yourself, and welcome new friends.
I am a mom, like any other mom, raising two young boys with big feelings. Those feelings grow and change and adapt as they age, but they are always strong. My experience raising them has inspired me to seek out books about managing those emotions and to write my own series about finding the joy in the chaos of kids’ “big feelings.”
This book is adorable. It helped my then three-year-old son identify his “big feeling” need to destroy anything another kid would build. My son resonated with the dinosaur, Rex, who wanted to show how big and strong he was by breaking down his friends’ block towers.
I loved how the story gently conveyed that Rex’s destruction wasn’t appreciated by his friends and how, in the end, he learned an alternative way to use his powerful nature to create rather than destroy. It’s a sweet, simple story, and its heartfelt illustrations really resonated with my young reader.
Look out! Here comes Rex! Children who love to construct — and those who love to destroy — will relate to this kid-pleasing tale that builds to a smashing finale.
Gizmo, Sprinkles, and Wild are fed up. Every time they build something with their blocks, Rex wrecks it! Whether it’s an out-of-this-world rocket, a magical heart, or the biggest, strongest, most awesomerific castle ever, Rex sends it crashing down with a “Rawr!” (and sometimes a sheepish“Rawry!”?). Isn’t there any way to make playtime fun for everyone? With Rex-size humor, Ben Clanton explores the challenges of friendship, the benefits of working…
It is April 1st, 2038. Day 60 of China's blockade of the rebel island of Taiwan.
The US government has agreed to provide Taiwan with a weapons system so advanced that it can disrupt the balance of power in the region. But what pilot would be crazy enough to run…
Before I was an author-illustrator, I was an elementary school teacher for many years. One of my favorite things about teaching was reading to students and helping them find books they love. Seeing kids connect with books motivated me to write and illustrate books; the character Reggie is very much inspired by my young students! Humorous books with lots of pictures often get kids hooked on reading, which is why I’ve selected funny graphic novels for this list. There’s no shortage of great comics for kids, so I chose books I also would have loved as a kid–silly and sweet, starring animal characters with real, kid-like feelings.
Duck and Moose are a duo that immediately grabbed my attention and won my heart! This short graphic novel is filled with hilarious moments, and I especially love the theme about imaginary play (and compromise) which young readers and their grownups will surely relate to.
The second book in a laugh-out-loud early graphic novel series perfect for fans of Narwhal and Jelly! Quiet-loving Moose's life is turned upside down by free-wheeling Duck. The two will need to put their differences aside if they're ever going to be neighbors...or friends!
Moose loves playing astronaut. Imagining his helmet, his seatbelt, and rocketing off into space are his favorite things to do! One day, Moose invites Duck to play with him. But there’s just one problem—Duck doesn’t know how to use his imagination! Moose teaches him but soon becomes frustrated because Duck doesn’t play astronaut the “right” way.…
