In this episode, James Shapiro, award-winning author and Professor of English and Comparative Literature at Columbia University, joins us to talk about his most recent book, The Playbook: A Story of Theatre, Democracy and the Making of a Culture War. With his characteristic investigative research and sleuth work, Shapiro has uncovered the truth behind the spectacular rise and fall of Roosevelt's New Deal-funded Federal Theatre Project in the late 1930s. At the heart of Shapiro's work is his point that theater is essential to a democracy. The shocking details behind the demise of the public, progressive FTP, Shapiro makes clear, lay the groundwork for the threats to democracy in America today.

These days, everyone seems to be talking about polyamory-- the practice of engaging simultaneously in more than one romantic and/or sexual relationship, with the full consent of everyone involved. According to a recent study, 1 in 9 Americans has tried polyamory, and 1 in 6 would like to try it. This got us wondering: Could people in Shakespeare’s day have known about and experienced anything resembling what we now identify as polyamorous desires and lifestyles? In this episode, we take a deep dive into two of Shakespeare’s cross-dressing comedies, As You Like It and Twelfth Night, to explore some potential polyamory prototypes.

It's time to bust out the dried macaroni, glitter glue, and home-made Foot Rub "Coupons," because Mother's Day is just around the corner. Mothers are missing from a lot of Shakespeare’s plays, but he's still got a lot of moms who are very much alive and kicking (unless they're buried alive). In this Very Special Holiday Episode, we give shout-outs to some of Shakespeare’s most suffering, unsung moms and imagine what kinds of Mother’s Day gifts their ungrateful kids and partners might have given them. Trust us, these ladies all deserve a 16-year spa vacation.

Long before Photoshop and the Varsity Blues scandal, wealthy families have been trying to game the college admissions process. In this episode, we explore why affluent families started to outnumber "poor scholars" like Hamlet's friend Horatio during the mid-sixteenth century and how money and social class affected life at Oxford and Cambridge. Shakespeare, who never attended university, has an interesting perspective on all this, which we take a look at alongside a document that is the early modern equivalent of an insider's guide to college life. From rich slackers who believe themselves "above the law" to kids who come home from college preaching their "superior" knowledge to their weary parents, there's a lot that will sound familiar.

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https://www.mcsweeneys.net/articles/i-am-lady-macbeth-and-your-facebook-post-about-your-kids-early-acceptance-to-harvard-really-pisses-me-off

They may not have called it "memoir," but early modern English authors were producing all kinds of life-writing, from snarky private diaries to published accounts of religious conversion and manifestos on breast-feeding. Whether or not Shakespeare's work contains anything autobiographical remains a matter of speculation, but he certainly understood the desire to control how your life story would be recorded for posterity. In this episode, we talk about the theme of life-writing in Shakespeare's work and look at some actual autobiographies written by his contemporaries. A wealthy and well-educated daughter of country gentry, Elizabeth Isham wrote her Book of Remembrance at age thirty. Although her intended readers were her family members and not the public, her nearly sixty-thousand-word book bears the closest resemblance to our modern memoir genre, with its familiar themes--sibling rivalry, mental illness, societal pressure on women--and its contemporary style of self-reflection. Michelle, whose new book is Green World: A Tragicomic Memoir of Love & Shakespeare, explains how Isham's ability to make sense of her life was truly ahead of her time.

In this episode, we’re talking with Austin Tichenor, co-Artistic Director of the Reduced Shakespeare Company, and longtime actor, author, podcaster, and Folger Shakespeare Library blogger. Austin takes us back to the early Renaissance Faire days of the RSC, and tells us about the Company’s experiences reducing other Great Works and Notable Events—from being banned in Belfast for their Bible play to revising their “Compete History of America (Abridged)” to meet our current political moment.

We're kicking off our second season by spotlighting the work of bookmakers and booksellers — in Shakespeare's day and ours. We recorded this episode in front of a live audience at the Brookline Booksmith, a fabulous independent bookstore just outside of Boston, where we took the standing-room-only crowd into the wild world of bookstall shenanigans, bawdy ballads, and book banning. It's only fun 'til someone loses a hand.

Ever wonder where the line "My kingdom for a horse!" came from? Shakespeare wrote it for King Richard III when he decided to dramatize England's bloodiest civil war, ending it with the tyrant Richard fighting on foot, abandoned by his horse and all his former followers. It's just one of many ways Shakespeare spun the story of Richard and helped turn him into the notorious villain he remains today in our popular imagination. In this episode, we explore the blurry lines between fake news and recorded facts by taking a close look at Richard III, the man and the myth. We'll explore the "history" of his ominous birth and physical deformity, and we'll talk about how Shakespeare's theater was a political platform —a stage that rivals our modern-day media outlets. Shakespeare wasn't above using it to spread biased narratives, but he also used his history plays to reflect on why these stories are so seductive, and how they can erode civil discourse.