PhD English (Shakespeare and Early Modern Drama), King’s College, University of London

MA  Shakespearean Studies (Merit), King’s College, University of London

BA (Hons) Humanities with History, The Open University

Other Publications

The Disguised Ruler in Shakespeare and His Contemporaries (Aldershot: Ashgate, 2012; reissued in paperback, New York & Abingdon: Routledge, 2016) Shortlisted (3rd place) for the Globe Theatre Book Award 2014 Nominated for the Society for Theatre Research Book Award 2013

Chapters in Books:

“‘Shakespeare in Prison’: A South African Social Justice Alternative,” in The Arden Research Handbook of Shakespeare and Social Justice, ed. David Ruiter (London & New York: Bloomsbury, 2021), pp. 190–206

“Shamanistic Shakespeare: Korea’s Colonization of Hamlet,” in Global and Local Myths in Shakespearean Performance, ed. Alexa Alice Joubin and Aneta Mancewicz (Basingstoke: Palgrave Macmillan, Cham, 2018), pp. 57-73

“Forced Modernity in The Revenger’s Tragedy Performance,” in The Revenger’s Tragedy: The State of Play, ed. Gretchen Minton (London: Bloomsbury, 2018), pp. 231-53

“Sexing Up Goneril: Feminism and Fetishization in Contemporary King Lear Performance,” in Women Making Shakespeare: Essays in Honour of Ann Thompson, ed. Gordon McMullan, Lena Cowen Orlin and Virginia Mason Vaughan (London: Bloomsbury, 2013), pp. 321-33 [Segment chosen for King Lear “Critical Choices” section in The New Oxford Shakespeare (2016), p. 2349]

“Lady Macbeth, First Ladies and the Arab Spring: The Performance of Power on the Twenty-First Century Stage,” Macbeth: The State of Play, ed. Ann Thompson (London: Bloomsbury, 2014), pp. 107-133

“‘What’s mine is yours, and what is yours is mine’: Measure for Measure, Vakhtangov Theatre, Moscow,” in Shakespeare Beyond English: A Global Experiment, ed. Susan Bennett and Christie Carson (Cambridge: Cambridge University Press, 2013), pp. 48-52

Chapters and Articles in Preparation or In Press

“Anti-Shakespeare Rhetoric and Colombia’s ‘Theatre for Peace’,” in Shakespearean International Yearbook, ed. Alexa Alice Joubin and Tom Bishop (London: Routledge, forthcoming 2021)

“PPE for Shakespearians: Pandemic, Performance, and Education,” Shakespeare Survey 74, ed. Emma Smith (Cambridge: Cambridge University Press, forthcoming 2021)

Essays and Articles

“OP PC or PAR RIP,” Shakespeare Bulletin, 36.4 (2018): 567-98

“Enactment and Exegesis: Recontextualizing Wilson’s The Three Ladies of London through Performance as Research,” Performance as Research in Early Modern English Studies: “The Three Ladies of London” in Context, McMaster University Conference Digital Essay (2015): 1-20

“‘Would they not wish the feast might ever last?’: Strong Spice, Oral History and the Genesis of Globe to Globe,” Multicultural Shakespeare, 11 (2014): 17-30

“Julie Taymor’s Tempests and Miranda’s Transient Castles of Sand,” Cahiers Élisabéthains, 80 (2012): 56- 9

“Narrative of Negativity: Whig Historiography and the Spectre of King James in Measure for Measure,” in Shakespeare Survey, ed. Peter Holland, vol. 64 (Cambridge: Cambridge University Press, 2011): 300-316

“Behind the Scenes: Penn & Teller, Taymor and the Tempest Divide Shakespeare’s Globe, London,” Shakespeare Bulletin, 29 (2011): 383-97

“‘As the cony that you see’: Rosalind’s Risqué Rabbits in As You Like It,” Shakespeare, 6.2 (2010): 153-64 [Segment chosen for As You Like It “Critical Choices” section in The New Oxford Shakespeare (2016), p. 1689]

“A Twenty-Fifth Anniversary Study of Rehearsal and Performance Practice in the 1980 Royal Court Hamlet and the Old Vic Macbeth: An Actor’s View,” Shakespeare, 1.2 (2005): 174-87

Collaborative Writing

“The Wrathful Dragon versus the Foolish, Fond Old Man: Duality of Performance in the 2013 Oregon Shakespeare Festival’s King Lear,” with Gretchen E. Minton, Cahiers Élisabéthains, 86 (2014): 63-73

Book Reviews

“David Lawrence, Wellington Summer Shakespeare 1983–2017 (Victoria University Press, 2017),” Book Review, Scene, 2017.2 (2018): 78-80

“Farah Karim-Cooper and Tiffany Stern, eds, Shakespeare’s Theatres and the Effects of Performance (Bloomsbury, 2013),” Book Review, Cahiers Élisabéthains, 85 (2014): 133-6

“Peter Holland, ed., ‘Shakespeare’s English Histories and their Afterlives,’ Shakespeare Survey, 63,” Book

Review, Bulletin of the Society for Renaissance Studies, 29.1 (2012): 45-9 “Shakespeare on Stage, by Julian Curry,” Book Review, Cahiers Élisabéthains, 79 (2011): 113-5

Theatre Reviews

“‘Mercutio, thou consortest [a bit too much] with Romeo’: Romeo and Juliet at the Guthrie Theater, Minneapolis, Minnesota, 2017,” Scene, 2017.2 (2018): 61-5

“Lazarus Theatre’s All-Female Henry V at The Union Theatre, London,” Scene, 2017.1 (2017): 25-9 “All’s Well That Ends Well, directed by Ralph Alan Cohen for the American Shakespeare Center at the

Blackfriars Playhouse, Staunton, Virginia, 2013,” Shakespeare, 10 (2014): 332-5
“King John, directed by Phil Willmott, Union Theatre, Southwark, London, 2012,” Theatre Rehearsal Reviews, Shakespeare Bulletin, 30 (2012): 555-9

“John Fletcher’s The Chances: ‘Read Not Dead’ at Shakespeare’s Globe,” Play Review, Shakespeare, 7 (2011): 355-7

“Christopher Marlowe’s Tamburlaine,” Play Review, ROMARD, 45 (2006): 143-5

“Ben Jonson’s Volpone,” Play Review, ROMARD, 45 (2006): 128-31

“John Ford’s ‘Tis Pity She’s a Whore,” Play Review, ROMARD, 45 (2006): 117-9

“Thomas Middleton’s Women Beware Women,” Play Review, ROMARD, 44 (2005): 135-8

“Thomas Middleton’s The Revenger’s Tragedy,” Play Review, ROMARD, 44 (2005): 132-4

“Ben Jonson’s Epicoene: or, the Silent Woman,” Play Review, ROMARD, 44 (2005): 122-5

Blog Posts


    Shakespeare Association of America

    Modern Language Association

    British Shakespeare Association

    French Shakespeare Society

    Shakespeare Theatre Association

    Fellow of the Royal Society of Arts

    Actors’ Equity Association of America

    British Actors Equity Association

    National Union of Journalists

    International Federation of Journalists


    Kevin A. Quarmby

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