CFP: The Marcher Metaphysicals

September 19, 2014

The Marcher Metaphysicals Conference,

29 October – 1 November 2015,

Gregynog Hall, Tregynon, Mid-Wales

The Welsh Marches, Marchia Walliae, or Y Mers in Welsh, constitute an extensive area around the boundary between England and Wales. This border country, in its breadth and somewhat hazy demarcation, defies precise definition, and invites fluidity of ideas and perception. The Marches are both a place in their own right, and an approach to somewhere else; they form a site of great natural beauty but also of historic political contention. Norman conquerors used these lands to subdue the native Welsh, as well as to create a jurisdiction separate from the English crown. Shakespeare represented them as a wild, rebel landscape, full of magic. The Marches were the imaginative home to a number of seventeenth-century poets who were interested in exploring the boundaries between material and spiritual experience. Their work forms the main focus of this conference. Equally important to our discussions will be the ways in which this poetic tradition has been updated and reinvigorated by Welsh and English poets in more recent times.

This conference seeks to explore the relationship between the early modern ‘metaphysical’ poets and the Marches that provided them with both material and imaginative landscapes. What influence did this place and its collective consciousness have on poets such as George Herbert, Henry Vaughan, Thomas Traherne and John Donne? How did these poets express an understanding of boundaries, power and resistance, and an appreciation of the beauty of the natural environment that informed them? How did their poetry speak to the aesthetic, religious, philosophical and political movements of the seventeenth century? How have the Marches, and indeed these poets, influenced modern poetry, helping poets to find new ways of describing and influencing a world beyond borders.

The conference will take place from the afternoon of Thursday 29 October to the morning of Sunday 1 November 2015 at Gregynog Hall, the historic house which is also the conference centre of the University of Wales. Gregynog is itself located in the Welsh Marches, near Newtown in Montgomeryshire, and is set in its own extensive and attractive grounds. It will form an appropriate and conducive setting for the discussion of the Marcher Metaphysicals.

We invite e-mail submissions for papers that explore the historical contexts, influences, and links shared by the seventeenth-century metaphysical poets, pursue fresh readings of their poetry or work critically with more recent British poets who have followed their tradition in negotiating geographical, linguistic, political or spiritual borders. The conference organisers also welcome submissions from poets and other creative artists inspired by the Welsh Marches and actively exploring the idea of ‘borders’.
For 15-20-minute papers, please send a 250-word titled abstract; for a complete 3-4-person panel, please send an overall title and individual 250-word titled abstracts for each paper; for creative presentations, please send a 250-word description indicating any other introductory materials (PDFs, CDs, DVDs) that the conference programming committee might then request for evaluation.


You should send your submissions to marchermets@bangor.ac.uk
Please indicate Marcher Metaphysicals 2015 in your subject line and include a 1-page CV giving an e-mail and a regular mail address. You should also indicate any expected audio-visual needs.
Deadline for submissions: 28 February 2015

Conference organisers: Dr Joseph Sterrett (Aarhus University, Denmark) and Prof Helen Wilcox (Bangor University, Wales)
Conference advisory committee: Dr Erik Ankerberg (Milwaukee Lutheran University, U.S.A.), Dr Elizabeth Ford (Open University, Cardiff, Wales) and Dr Chloe Preedy (Exeter University, England)


Year’s Work in English Studies

September 16, 2014

The annual installment of the Year’s Work in English Studies, published by Oxford University Press, is now available online. In the section on “Shakespeare’s tragedies”, Johann Gregory (Cardiff Uni alumnus) reviews two monographs by previous Cardiff University alumni, Joseph Sterrett and Roger Christofides – (The Unheard Prayer: Religious Toleration in Shakespeare’s Drama and Shakespeare and the Apocalypse: Visions of Doom from Early Modern Tragedy to Popular Culture, respectively). Another alumni, Robert Magnani, contributes to the “Chaucer” section. In other news, Neil Badminton (Cardiff University) is the new editor of the Year’s Work in Critical and Cultural Theory, which this year also includes a contribution by Josh Robinson (Cardiff University) on “Poetics”.

Those with an institutional login should be able to access these online here:




Cardiff Shakespeare has a new twitter account – at the same handle @CardiffShakes. Please re-follow!


Cardifff Uni Speakers at “Shakespeare: The Philosopher” Conference

September 12, 2014

Christopher Norris and Sophie Battell will be speaking today at the conference “Shakespeare: The Philosopher” taking place at the University of Hertfordshire.

Norris, Distinguished Research Professor at Cardiff, is speaking on Wittgenstein and Shakespeare. Battell, a PhD candidate at Cardiff, is speaking on “Language and Exile in Richard II“.

Find out more here:


Cardiff Shakespeare has a new twitter account – at the same handle @CardiffShakes. Please re-follow!



September 10, 2014

Kit Marlowe and the Demon Legion

Writing The Adventures of Christopher Marlowe trilogy was something of a literary experiment. In my academic work at Cardiff University, I employ plagiarism software to detect collocations shared between Shakespeare and his contemporaries, such as Peele, Kyd and, indeed, my dashing protagonist, Marlowe. My examinations of such phrases used by Elizabethan dramatists enable me to form theories concerning collaboration, authorial imitation and authorship.

I have always been fascinated by collaboration, and the ways in which authors, according to accommodation theory, consciously or unconsciously echo each other’s portions. I asked a fellow indie author, Robert NC Thomas, to collaborate with me on the first book in the series, Kit Marlowe and the Demon Legion, because he was far more experienced in the action/adventure genre than I was, and I have long been an admirer of his writing style. We have collaborated on many projects together, including a radio parody of Arthur Conan Doyle’s Sherlock Holmes stories, and a screwball noir comedy for Edinburgh Festival Fringe, Satan Met a Shamus. We therefore have intimate knowledge of each other’s strengths and weaknesses as writers.

Using plagiarism software and our respective portions for the first book (as well as his book Rupert Pinter and the Curse of the Tuatha De Danann, and my own first venture into fiction, Cinnamon Twigs: The Life and Pseudocide of a Celebrity), I was able to detect idiolectic formations that distinguished our authorial styles. This enabled me to consciously imitate his style in an attempt to unify the book, although inevitable difficulties arose in characterisation and plot consistency at times. We had met up to plot the story in our favourite pub, The Woodville, and decided that we would assign respective chapters between us, and I would subsequently edit them. There is only one chapter in Kit Marlowe and the Demon Legion that melds our individual passages, but it is far too much to hope that one day attribution scholars will attempt to distinguish our hands! This process of collaboration gave me insights into the ways Elizabethan co-authors might have worked.

In the knowledge of my collaborator’s phrasal repetends, I was able to maintain the authorial voice of the first book when I came to write its prequel/sequel, Kit Marlowe and the Doomsday Fleet, solo. By time I came to the third book in the trilogy, Kit Marlowe and the Fatal Engines of War (forthcoming), I was able to unconsciously assimilate many of Robert NC Thomas’s phrasal structures into my own work. Furthermore, I strove to link the language of the books to the works of Shakespeare, Marlowe and company, so that you could say the whole trilogy is permeated by a plethora of authorial voices. I hope fans of Marlowe and Shakespeare will enjoy the reading experience; there are plenty of knowing winks throughout these stories. I am very grateful to Robert NC Thomas for his help on the first book, and to Charlotte ‘Meg’ Smith for her lovely artwork.

Academia aside, the books, though extremely violent and dark in parts (much like Elizabethan and Jacobean dramas), are good fun and are interlaced with comedy. A lot of research has gone into developing the characters, based on historical material concerning figures such as Marlowe, Kyd, John Whitgift and Francis Walsingham. I have taken liberties at times for the sake of adventure and readership, and Marlowe’s musings on his fellow lodger’s dramatic corpus are somewhat subjective and based on my support for Brian Vickers’ work on Thomas Kyd’s extended canon.

I would be incredibly grateful if readers of Cardiff Shakespeare could download these books, available on Amazon Kindle for just 77p each, and hopefully enjoy these short, easy (and admittedly rather silly!) reads.


Kit Marlowe and the Demon Legion: The Adventures of Christopher Marlowe (Book 1)

Available for download at: http://www.amazon.co.uk/Kit-Marlowe-Demon-Legion-Christopher-ebook/dp/B00JDLWKIC/ref=pd_ecc_rvi_3


Christopher ‘Kit’ Marlowe, poet and spy, is sent to investigate the villainous Barnaby Ithamore, who intends to raise an army of demons from hell in order to destroy the world. In this pulse-pounding action/adventure story, the swashbuckling hero, armed with his trusty rapier, undergoes a breathless voyage across Elizabethan England, Spain, Italy and Germania, concluding in an explosive climax off the coast of Portugal… James Bond’s world of espionage meets the dark age of William Shakespeare in this unforgettable first book in The Adventures of Christopher Marlowe series.


Kit Marlowe and the Doomsday Fleet: The Adventures of Christopher Marlowe (Book 2) [Kindle Edition]

Available for pre-order at: http://www.amazon.co.uk/Kit-Marlowe-Doomsday-Fleet-Christopher-ebook/dp/B00NB51LVI/ref=sr_1_2?ie=UTF8&qid=1409861279&sr=8-2&keywords=marlowe+freebury


The Adventures of Christopher Marlowe continue in this thrilling prequel/sequel to Kit Marlowe and the Demon Legion! It is the eve of the Spanish Armada, and Marlowe is eager to join his comrades at Plymouth and wage war against Catholic Spain. However, his boss, the spymaster Francis Walsingham, has other plans, and sends him on a mundane mission to Linlithgow, in Scotland, to judge where the Scottish King stands on Protestantism… Marlowe soon finds that danger is never far away though, and, in the company of the beautiful heroine Chyna Dahl, pits himself against three deadly witches and an army of the dead. His mission leads him to the White Cliffs of Dover, and to an unexpected, devastating showdown… Hilarious, yet dark and extremely violent, Kit Marlowe and the Doomsday Fleet is an adventure like no other.

- Darren Freebury-Jones




Cardiff Shakespeare has a new twitter account – at the same handle @CardiffShakes. Please re-follow!


Richard III Trafalgar Transformed – Cardiff Shakespeare Review

July 30, 2014

Review by Emily Garside (Cardiff Metropolitan University)

Richard III directed by Jamie Lloyd as part of his third ‘Trafalgar Transformed’ series, sees an updated and bloody account of the history play. Lloyd aims with his ‘Transformed’ season to ‘thrill audiences while stimulating open debate and dialogue around the issues central to each play’ For Richard III with Martin Freeman in the title role and a fast-paced and bloody direction, there also seems to be an emphasis on the director’s desire to develop a new more diverse audience.

The production moves fast, at 2 hours 30 minutes, and it feels like a pacey political drama with added violence. Substantial cuts made to the text would probably go unnoticed to those unfamiliar with the text, and the narrative flows well making this an accessible engaging version of the play. In addition to the cuts, many of the off stage deaths are brought on stage, often in graphic detail. Much has been made of the violence and sheer volume of blood in this production (those in the first three rows are warned of being in a ‘splash zone’) and while, yes there was quite a bit of blood it didn’t’ feel particularly gratuitous. Seeing some of the usual off-stage deaths also brought characterisation or motivation home, further fleshing out what we already knew or felt about some characters. The end fight-‘showdown’ actually seems more appropriate, made good use of an issue that troubles many modern-dress Shakespeare plays, how to deal with the imbalance between guns and swords. In this case effective use of guns versus the knives (rather than swords) across the play makes a profound statement of violence at its close.

The 1970s political setting works well for Lloyd’s pacey production. It also works well in some of the slower scenes, in fitting with the back and forth and posturing of political debate. The claustrophobic set – the entirety of the action set in a cabinet office – also works well with the political heat and (literal) back-stabbing of the narrative.

The cast is strong, with a reduced cast fitting the edited nature of the text – stand out performance in particular from Jo Stone-Fewings as Buckingham who delivered a conniving and dark performance. Gina McKee as Queen Elizabeth and Maggie Steed as Queen Margret also provide strong female roles in this testosterone filled play. Freeman’s Richard goes against a more common approach to bring a more cautious, calmer but no less nasty Richard to life. I fully believed his attitude, inspired by his physical deformities. In his scheming he is a carefully planned and poisonous, in that sense a true politician Richard. Personally I missed the charismatic scheming Richard I’ve come to associate with this play. It is still an accomplished performance and fully in fitting with what Jamie Lloyd is trying to achieve with this modern political production.


Find out more here.



p.s. Cardiff Shakespeare has a new twitter account – at the same handle @CardiffShakes. Please re-follow!



@Everymancdf Taming of the Shrew – Cardiff Shakespeare Review

July 28, 2014



Review by Lucy Menon (Cardiff University alumna), creator of Shakespeare Books

On the sultry evening of Friday 25th July, the Everyman theatre company held their opening night of Shakespeare’s Taming of the Shrew. The weather seemed to complement the heated debates on stage as the age-old issues surrounding clashes between parents and children, the struggles for independence, and, of course, the nature of love were presented. The outdoor set was minimal with a wooden frame as the front of “Tony’s” and a table with two chairs in front of it. Like the original play, this version sought to place an introductory framework before the main show. In this instance, we were launched into a very Welsh scene of a raucous stag-do invading the stage. This made a definite connection with the audience as it created a very local link, with jokes being made to the veneer of “Tony’s” as the chip shop in Caroline Street. The hen party also made their way to the stage and immediately established the tension between the sexes as we learnt that their friend Kate had been “dumped” by one of the stags. Indeed, one player came from being seated in the audience to defend her as his sister and implied that he was only participating in the acting to cheer her up. The start to the performance reinforced the concept that some issues never alter, such as the complexities of courtship from being spurned to marriage itself. The characters then melted into the background and re-emerged as members of the cast.

The main setting for this production was 1950s Italy and this proved to be a great success with costumes reflecting status and personality equally well. It also allowed for a snazzy Rat Pack soundtrack to be played prior to the performance and during the interval which subtly enhanced the atmosphere. From the outset, Kate (Sarah Bawler) commanded the stage through silent facial movements, physical action and vocal talent. Her performance continued to be incredibly strong throughout, with her great interpretation of the language and her often perfect emphasis conveying the meaning. This was particularly evident when Petruchio first starts to woo her and she tries to defy him; later when she is being denied food in a bid to tame her and her desperation exudes from her without even speaking and finally in the concluding section of the play when she enters at last eating a sandwich and thus manages to evoke humour through even a small gesture. Costuming for Kate was also well planned throughout, from a drab dress at the start, to a purple outfit on her wedding day which aptly reflected her passion and choler at the event; she wore more muted colours spattered with mud when she was being “tamed”, while, by the end of the play, she sported a navy dress with white polka dots as the respectable and compliant wife. Petruchio (James Pritchard) provided the perfect foil to her and matched her in stage presence and wit. Dressed in a sharp suit, he managed to come across as suave and business-like which reflected Petruchio’s character well. The height difference between the central couple also allowed for entertainment value as Kate was significantly shorter than Petruchio, so moments of interaction almost contained an element of slapstick.

Tranio (Richard Atkinson) provided initial comedy value by sounding like a Welsh Baldrick from Blackadder with his attempts at cunning plans with his master Lucentio (Matt Lody); then a simple costume swap of a suit jacket and a woollen vest top allowed for a very definite change in demeanour and role. This then made Lucentio appear as a preppy school-boy which, with the later addition of a bowtie, provided the perfect guise as a tutor for Bianca. Indeed, the tutor scenes involving both Lucentio and Hortensio (one of Bianca’s much older suitors) disguised as would-be tutors were another high point for physical comedy. The attire of the tutors in identical costumes of woollen vests and bowties, but in differing colours, worked well visually and also added to the sense of comedy. Initially attempting to educate Kate, Hortensio leaves the stage, but promptly returns with his ukulele broken around his neck! This simple action demonstrates Kate’s temper and Hortensio’s unsuitability to the position. Later, Hortensio hopes to win Bianca by pretending to be her music teacher but is thwarted by the younger Lucentio’s Latin conjugations which allow him to have more private whisperings with Bianca, whilst Hortensio is left to tune his “instrument”, allowing the innuendo to run high in this scene.


Baptista (John Atkinson) plays the part of the anxious father well, and we feel convinced of his concern for both his daughters. As the programme tells us, “Baptista’s job as a father is to marry off his daughters, and the eldest before the youngest; so far he’s failed…” and this turmoil is well presented as he feels unable to allow Bianca to marry before Kate, yet he is aware of his elder daughter’s awkward disposition. He does seem to initially favour his younger daughter, Bianca, which only adds to Kate’s frustrations. However, in scenes with Petruchio, he does imply that he wants Kate to be happy and marry for love, not just to become part of a financial contract. He also becomes quite annoyed when Petruchio turns up late and inappropriately clothed for his own wedding. There is also a tender moment in which Kate runs to the arms of her father, away from her demanding husband, which is reminiscent of an earlier embrace between Bianca and Baptista, after Kate had tied her sister to a chair. It is pertinent that this occurred during a discussion of possession and how, now they are married, Petruchio considered Kate as belonging to him like a “barn” or general “chattels”.

The part of Grumio (Chris Williams) also deserves a notable mention as he injected another layer of humour into the production and stood out in terms of his convincing performance of an unfairly treated servant. Reminiscent of Charlie Chaplain in terms of both costume and physicality, Grumio also added further to the humorous elements of the play. This physicality was coupled with a wonderful use of voice to convey a range of sentiment. Clad in a purple bridesmaid’s dress for his master’s wedding, he was an amusing sight to behold and harkened back to Shakespeare’s own gender-bending era when the boy-players would dress as women. This duality was emphasised as he was still wearing his bowler hat and brogues and held a small bouquet of flowers in one hand and a bottle of beer in the other! A moment of sheer ridiculousness passed when Grumio removed his weapon from under his dress to reveal it is a small, plastic carrot.

Biondello (Bridie Smith and Serena Lewis) also deserves a special mention for their musical interludes and general slapstick entertainment. Splitting the role allowed for a greater depth of humour as they became two court jesters bouncing off each other (literally in some cases). The double act evinced several laughs from the audience just for sheer facial expression and reaction to the events on stage. This was particularly evident when they mimed alongside Gremio’s account of Kate and Petruchio’s wedding. Although the songs they sang were not in keeping with the 1950s theme, they were reminiscent of karaoke on a hen-do and as such allowed the modern thread to intertwine with the main play. Regaling us with classics such as “I Will Survive”, “Total Eclipse of the Heart”, “Somebody to Love” and culminating with “Don’t Stop Believing” as the finale of the show, the duo managed to allow for smooth running at the end of acts and scenes.


In the second half, even a shower of rain did not detract from the action and the players continued as if it wasn’t happening. A simple change of set with the turning around and relocation of the wooden frame allowed for “Tony’s” to become the interior of Petruchio’s house. The table that had earlier served as an ironic candle-lit moment during Petrucio’s initial wooing of Kate now became the main dining table at which no food was actually eaten. This simple subversion of the significance of these instances resonates on a level that does not sit comfortably, as we realise that Kate has been denied even simple pleasures in this relationship. It also prepares us for the escalation of tension and the conclusion which, despite being played for laughs, really is most uncomfortable, as we realise the extent of Kate’s character alteration when juxtaposed with the widow and Bianca. At the start, Bianca seems the model daughter and adheres to stereotypical ideas of femininity and so her refusal to attend on Lucentio at the end of the play may seem to be the smallest act of stubbornness, yet now, in comparison, Kate humbles herself even more and it seems that Bianca is being incredibly unreasonable.

By having a lot of the action come from the audience area, we were drawn into the antics and the proximity increases the level of engagement. This was particularly so when Petruchio launched the newly made bonnet which Kate likes into the audience (directly at this reviewer!) in a demonstration of his power over her and how she needed to learn to make her choices through him. This is reinforced during the debate over whether it is the sun or moon shining at night: the party passed directly in front of the audience and lingered there which made us feel as if we were also being drawn into the dispute. The couple also sat on the steps between the audience seats to watch the action onstage during Bianca’s marriage and the unravelling of the various levels of deception and disguises.

After Bianca’s wedding, all of the cast were on stage as guests and there was a particularly nice touch when, through a snapping sound and the flash of an overhead light, it is as if a photograph of the new extended family had been taken – complete with Kate scoffing a sandwich. As mentioned, Kate’s newly altered behaviour is flaunted when the men place bets on the obedience of their wives and, through her soliloquy, the darkness and ambiguity is established around the unsettling nature of this dedication to command and obedience. This anxiety is somewhat short-lived as the duo of Biondello start to sing their final number and the addition of a glitter ball as well as the stripping of a few cast members to reveal hen-do outfits suggests more of a party atmosphere. Although there is the hint of return to the modern day through this costume change for some of the characters, there is no formal conclusion of the framework and this renders the climax a little confusing as there is a merging between 1950s Italy and 2010s Cardiff for the final medley. This production did not really deal with the underlying gravity of a play which – with modern-day hindsight – seems to be celebrating domestic abuse; Everyman’s production seemed to skim over this aspect, but by drawing out the humour and commanding the comedy so well it allowed for a mockery to be made of the behaviour of the more domineering characters and as such created a very entertaining “two hours traffic” which I would highly recommend. Everyman’s Taming of the Shrew runs until Saturday August 2nd, Sophia Gardens, Cardiff.

p.s. Cardiff Shakespeare has a new twitter account – at the same handle @CardiffShakes. Please re-follow!



CfP: Comic Drama on the European Continent: A Cross-Cultural Examination

July 25, 2014

CfP: Comic Drama on the European Continent: A Cross-Cultural Examination.


Medieval and Renaissance Drama Society, Leeds IMC 2015

We are seeking proposals for 15 to 20-minute papers covering any aspect of the “comedic tradition,” to whatever extent it can be called that, as it existed in continental Europe during the later Middle Ages and early Renaissance.  Potential themes and topics may include: farce and physical comedy; parody, satire, and social commentary; comedic elements of serious drama and comic relief; comedic character archetypes; complication of genre and style; interactions between “highbrow” and “lowbrow” comedic works; masking, costume, and makeup; the grotesque; and the shaping of comedic conventions by modes and venues of performance.  Papers which cover cultural exchange across the continent or with Britain, or which fit with the Leeds conference theme of “Reform and Renewal,” are particularly of interest.

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