“Shakespeare Magazine is in trouble – big trouble. Can you help?” An urgent appeal to all our readers around the world from Pat Reid, Founder and Editor of Shakespeare Magazine

Dear Readers,

The headline really says it all. Shakespeare Magazine is in trouble.

This month, I ran out of money and exceeded my overdraft limit at the bank. As a result, Shakespeare Magazine‘s future is in danger.

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I’ve taken on part-time work for a media company (here in Bristol, England) and I’ve also been editing Shakespeare articles for a client in the USA. But my payments haven’t come through yet, and in the meantime I’m behind with my rent and bills.

This includes my monthly payments to Issuu and Yumpu, the companies that provide online platforms for Shakespeare Magazine.

I’m also unable to send out the latest batch of Shakespeare Magazine T-shirts and gift packs, because I don’t have the money for postage.

And now there’s a disturbing possibility: I may get so far into debt that Shakespeare Magazine will effectively cease to exist.

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I need to stress that most of the amounts I’m talking about are extremely small, but I need to urgently request your help in raising the money.

And so I’m asking you to please send me what you can afford: whether ten pounds (or dollars, euros etc), or a hundred or a thousand – or even more.

The bigger the donation, the greater the chance of saving Shakespeare Magazine.

I now have a paypal.me link for instant donations. It accepts payments in most major currencies

And please email me via shakespearemag@outlook.com if you would like to donate by an alternative method.

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With your help, I am confident I can get back on track to publish two issues of Shakespeare Magazine before the new year: one at the end of October, and one just before Christmas.

Naturally, I will be very happy to answer any questions or propositions you may have.

Thank you so much for any and all support you can give to Shakespeare Magazine.

Yours sincerely,

Pat Reid, Founder and Editor – Shakespeare Magazine

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As always, go here to get all 12 issues of Shakespeare Magazine free via Issuu.

Or go here to get all 12 issues free via Yumpu. (Some readers prefer this platform)

From Sharpe to Shakespeare: Bestselling author Bernard Cornwell has a new Elizabethan-era novel, Fools and Mortals. And its hero is a certain Richard Shakespeare. Can you guess whose brother he is?

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From the official press release:
Fools and mortals follows the young Richard Shakespeare, an actor struggling to make his way in a company dominated by his estranged older brother William. As the growth of theatre blooms, their rivalry – and that of the playhouses, playwrights and actors vying for acclaim and glory – propels a high-stakes story of conflict and betrayal.

Showcasing his renowned storyteller’s skill, Bernard Cornwell has created an Elizabethan world incredibly rich in its portrayal. You walk the london streets, stand in the palaces, and are on stage in the playhouses, as he weaves a remarkable story in which performances, rivalries and ambition combine to form a tangled web of intrigue.

A global brand, Bernard Cornwell is the author of over 50 novels published in 30 countries and in 28 languages. He has sold over 20 million books around the world.
Bernard was born in London, raised in Essex, and worked for the BBC for 11 years before meeting Judy, his American wife. Denied an American work permit, he wrote a novel instead, and has been writing ever since. He and Judy divide their time between Cape Cod and Charleston, South Carolina.

Fools and Mortals in published in the UK on 19 October 2017 and in the USA on 9 January 2018.

Go here to order your copy of Fools and Mortals.

Go here to read an excerpt from Fools and Mortals.

From the vaults: “A visually stunning, action-filled Bardfest with top-notch performances…” Film critic Robin Askew’s 1996 review of Richard Loncraine’s Richard III, which unforgettably starred Ian McKellen

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Opening with an action scene strongly reminscent of one of the more audacious stunts in Goldeneye and climaxing in a style that owes more to Terminator 2 than any of those stilted school stage productions which are the closest most of us get to the Bard, Richard Loncraine and Ian McKellen’s reworking of Richard Eyre’s daring stage adaptation is clearly not for the Shakespeare purist. That said, it’s not a crass attempt to bring Richard III to “the kids”, either; rather a bold and inspired reimagining of the play’s universal themes in a handsomely staged civil war-torn alternate-world England of the 1930s.

McKellen is a hypnotically watchable, oily, scheming Richard, cursed by physical deformity but unstintingly ruthless in his pursuit of power in this jazz age Albion awash with the sinister trappings of fascism. Following the death of the King and the accession of his elder brother Edward, Richard’s blood-spattered path to the throne becomes clear. First he must seduce and marry Lady Anne (Kristin Scott Thomas) – here reduced to a pitiful junkie with needle tracks up her arms – whose husband he slaughtered during the Civil War.

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Then, with the aid of the greedy Duke of Buckingham (Jim Broadbent) and his faithful assassin James Tyrell (Adrian Dunbar), this brilliant, twisted strategist sets about removing every obstacle in his way, from his brothers King Edward (John Wood) and the gentle Clarence (Nigel Hawthorne) to Earl Rivers (Robert Downey Jr), brother of the widowed Queen Elizabeth (Annette Bening), who meets his end in a particularly grisly manifestation of coitus interruptus.

A visually stunning, action-filled Bardfest, pared to just the right length, with top-notch performances from its venerable thesps, including oddly cast American Downey Jr and a suitably regal Bening, Richard III makes outstanding use of its imaginative locations, from the palace at St. Pancras Station to the final tank battle in the shadow of Battersea Power Station. McKellen contributes a performance of such lip-smacking evil – all crocodile smiles and sly asides to camera – that even a ferocious public disowning by Queen Mum Maggie Smith is barely able to deflect it for more than a heartbeat.

This review originally appeared in Venue Magazine.

Richard III (15)
UK / 1996 / 103 minutes
Director: Richard Loncraine.
Cast: Ian McKellen, Annette Bening, Kristin Scott Thomas, Jim Broadbent, Robert Downey Jr., Maggie Smith, Nigel Hawthorne, Adrian Dunbar, John Wood

Richard III ciggy

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New York’s recent explosively controversial Shakespeare in the Park was All About Trump, but at Bristol’s Old Vic Theatre there was a rather more British take on Shakespeare’s perennially politicised play “Julius Caesar”

Julius Caesar at Bristol Old Vic - Lynn Farleigh (Calpurnia) Julian Glover (Julius Caesar) - Photo by Simon Purse
Photos by Simon Purse

Veteran actor Julian Glover’s Caesar is no Trump, but the fact that he’s beloved by the young while feared and hated by the recently-young does put one in mind of another JC – Jeremy Corbyn – and this production definitely takes its energy from today’s (30 June 2017) sense of post-election turbulence. There’s even an “Oh, Julius Caesar!” refrain from the mob in the opening scene.
These things never quite fit, of course. Arrogant and vain, Glover’s JC would never be mistaken for an allotment-tending socialist. You get the sense that his military victories and territorial conquests have made him a bit mad.

Julius Caesar at Bristol Old Vic - Afolabi Alli (Metellus) and Rudolphe Mdlongwa (Cinna) - Photo by Simon Purse
Indeed, for all his belief in his own godlike prowess, there’s a King Lear-like frailty to this Caesar. The one glimpse of his political instincts – when he singles out Cassius as dangerous – merely confirms that his radar is working but his defences are down.

Apart from Caesar, Calpurnia (Lynn Farleigh) and the Soothsayer (John Hartoch), the rest of the characters are all played by students from Bristol Old Vic Theatre School, and there’s plenty of ascending talent on display. Brutus is portrayed by Freddie Bowerman as a ramrod-straight patrician whose much-discussed honour never quite masks the suggestion that he’s acting out of vanity. As Cassius, Edward Stone is an oily George Osborne-type. A persuasive political realist, he needs Brutus on board for the conspiracy to succeed – but his deference to Brutus will prove a fatal flaw.

Julius Caesar at Bristol Old Vic - Alice Kerrigan (Cinna the Poet) with company - Photo by Simon Purse
Casca is one of Shakespeare’s most marvellously bitchy creations and, played with icy disdain by Eleanor House, gets quite a few laughs (in the early scenes, that is – Casca is also the conspirator who initiates the stabbing of Caesar). The gender-swapped casting means this Julius Caesar takes place in a world where wives like Calpurnia and Portia (Sarah Livingston) are essentially enslaved by the patriarchy, and yet it is simultaneously permissible for women to have high-flying political careers and fight in the civil war. Most significantly, Octavius becomes Octavia, played by Rosy McEwen with emotionless hauteur, reminiscent of a killer robot from the Terminator films.

Julius Caesar at Bristol Old Vic - Freddie Bowerman (Brutus) - Photo by Simon Purse
Mark Antony is played by Ross O’Donnellan as a party animal with a broad Irish accent, a fact which seemed to greatly amuse the two blokes sitting next to me. I thought it was a good choice for a character whom the conspirators underestimate until he strikes them with deadly force. The scene after Caesar’s assassination where Antony insists on shaking hands with the blood-soaked killers worked particularly well. It starts off as desperate survival technique, but it allows us to see Antony gradually get the measure of each of his opponents, and begin to realise he can beat them.

Julius Caesar at Bristol Old Vic - Ross O'Donnellan (Mark Antony) - Photo by Simon Purse
The mob scenes and battles are skilfully deployed in this lean, fast-moving production. The supporting cast all have a lot to do, playing multiple characters and at times literally running riot. The modern-day dress code of business suits and military fatigues is similar to the Ralph Fiennes Coriolanus film. But director Simon Dormandy’s Caesar has strengths of its own as it points, Soothsayer-like, to the consequences of political meltdown.

Julius Caesar ran at Bristol Old Vic from 9 June to 1 July 2017.
Go here for more on Bristol Old Vic.
Go here for more on Bristol Old Vic Theatre School.

Goat’s Dung, Mummified Flesh and Vomiting… This is what passed for state-of-the-art health care in Shakespeare’s day. The authors of new book ‘Maladies & Medicine: Exploring Health & Healing 1540-1740′ reveal six stomach-emptying (sometimes quite literally so) cures from early modern England

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By Jennifer Evans and Sara Read

In William Shakespeare’s time, the concept of the four humours dominated ideas about the body. The humours were fluids: blood, choler, melancholy, and phlegm, which needed to be kept in equilibrium in order for the body to stay healthy. Illness was usually, although not always, understood as an accumulation of excess or a corruption of one of these fluids.

For the most part, medical treatments were gentle ones designed to restore balance by drawing out ill humours and purging the body of excess. Remedies might also balance out the body by counteracting the effects of diseases. For example, cooling drinks might reduce the heat of the body caused by fever. Shakespeare’s own son-in-law, Dr John Hall, husband of his elder daughter Susanna, practised these mainly conservative cures in the first instance for many illnesses. So, in one case he prescribed a double-folded linen cloth filled with butter to be placed on the side of an elderly lady with stomach ache.

Not all remedies were pleasant though, particularly not when viewed from our modern perspective. Practitioners could resort to drastic means of purging the body, or could prescribe medicines that contained unappetising ingredients. Here are six remedies you would probably want to avoid today…

Blisters

Many practitioners thought that raising blisters on the skin was a good way of drawing out unwanted humours and therefore disease. An anonymous treatise from a 1577 book recommended the notoriously dangerous green flies known as cantharides (actually not flies at all, but small iridescent beetles) which, we’re told, were easily available from the local apothecary shop. These w‪ere placed in a mortar with vinegar and some breadcrumbs to make a paste, which was applied to ‘the sore place, that is, where the most grief is’ for around seven hours. Once dry, it had to be teased off with the tip of a knife. After the skin blistered it had to be burst and, as the author explained, ‘with your finger thrust out the water softly’. The problem with blisters was that while the ‘the pain of the disease is gone’, the patient then had to heal from the new sore.

Bloodletting

Imagine if you felt poorly and your doctor prescribed cutting open a vein in your arm or ankle, with a lance and no anaesthetic, to remove some of your ‘excess’ blood. The amount of blood removed was dependent on the condition. Because blood was considered to be a ‘hot’ humour, phlebotomy was often used to take heat from the body in the case of fevers. It wasn’t recommended to be used on children, fortunately, since all their blood was needed to help them grow. Doctors didn’t let blood willy-nilly. As one sixteenth-century physician (who published a book as ‘A. T’ in 1596) instructed, before letting blood you must consider ‘the age of the patient, the complexion, the time of the year, the region, the custom, the strength, and the vehemence of the disease’. Not all bloodletting was done by cutting into the body. As many people know, an alternative was to apply leeches to the skin.

Induced Vomiting

Most people today hate being sick, as they did in the past. One early doctor, Philip Barrough described in his 1583 medical guide how unpleasant feelings of nausea came from ‘a naughty and wicked motion of the expulsive virtue of the stomach’. But this innate urge to eject things was put to good use in early modern times, when emetic medicines that caused patients to be sick were a routine cure. Vomiting was also used to ward off ill health. John Clarke, an apothecary, took ‘a vomit’ once every month or six weeks as a preventative against all manner of infirmities. He wrote that if everyone did the same then it would save 20,000 pounds of tobacco which was currently being used by people as a medicine. Clarke described how to make a posset that would bring up a great quantity of phlegm and other corrupt humours, leaving you feeling clear headed and very well.

Mummified Flesh

In Shakespeare’s time, remedies composed of multiple ingredients could also include some rather unappealing components. A text published a few decades later (in the 1650s) claimed that many
medicaments are taken out of a Live Man, or from a dead man. From a live man, we have Hairs, Nails, Spittle, Ear-wax, Milk, Seed, Blood, Menstrual Blood, Secondines, Urine, Dung, Lice, Wormes, Stones of Bladder & Kidneyes, &c. From a dead man, Skin, Fat, Scul, Brain, Teeth, Bones Mummy

Preserved human flesh (mummy) was found in several medicines including an unguent to staunch blood recommended in a 1605 medical text by Christoph Wirsung, a German physician. Dead men’s flesh didn’t always have to be put into a medicine. Many people waited at the gallows in the hope that they could have their boils and swellings stroked with the hanged man’s hand, which was thought to have healing properties.

Breast Milk

In early modern notions of the body, breast milk was created from menstrual blood, which was diverted after the birth of the child to the breasts where it was ‘concocted’ into milk. It was thought to have healing properties. William Copland’s Treasurie of Health suggested that ‘The yolke of an egge, mingled w[ith] Rose water, bran, & womans milk’ was a good medicine to assuage pain and to drive unhealthy humours out of the body. While Thomas Vicary’s English-mans Treasure recommended a mixture of wormwood, plantain, rose water, breast milk and egg white to heal bloodshot eyes.

Animal Dung

It wasn’t just parts of the human body and its products that were used in medicines. Plasters sometimes contained rather pungent components. Dung, usually from a cow, formed the main component of several plasters recommended to ease swelling. Andrew Boorde’s Breuiary of Health, for example, suggested a remedy made of goat dung and honey. Christoph Wirsung’s medical text suggested a plaster of bayberries mixed with goat’s dung to ease the dropsy, a disease characterised by watery swelling of the stomach.

Jennifer Evans is Senior Lecturer in History at the University of Hertfordshire
Sara Read is Lecturer in English at Loughborough University

Their new book Maladies and Medicines: Exploring Health and Healing, 1540-1740 is out now, published by Pen and Sword Books.

Vsit the authors’ blog: earlymodernmedicine.com

We caught up with theatre maker Ed Viney at Bristol Shakespeare Festival where he was directing the new comedy play “Shakespeare’s Worst”

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Which play or area of Shakespeare are you working on right now – and what are you getting from it?
“Currently working on Shakespeare’s Worst which is a play by Mike Reiss, former writer/producer on The Simpsons, and Nick Newlin, Shakespearean scholar. It’s about a group of actors staging The Two Gentlemen of Verona, arguably Shakespeare’s worst play. It’s a play on a play and all the things you’d like to say when sat in a theatre watching a really awful production of Shakespeare. It’s very liberating!”

What have you learned about Shakespeare that would have surprised your younger self?
“It’s deceptively simple when you say it aloud.”

Which Shakespeare character most resembles you?

“Benedick.” (Much Ado About Nothing)

If I ask you to give me a Shakespeare quotation, which is the first one that comes to your mind?
“Simply the thing I am shall make me live.” (Parolles in All’s Well That Ends Well)

What’s your favourite Shakespeare-related fact?

“Shakespeare wrote for actors.”

You have the power to cast anyone in the world (actor or otherwise) to play any Shakespearean character. Who do you choose – and which role do they play?

“Robert Downey Jnr as Lady Macbeth.”

Shakespeare’s Worst has now ended, but Bristol Shakespeare Festival continues until 29 July.

Go to the Festival website for more details.

The lively, eclectic and much-loved Bristol Shakespeare Festival runs throughout July. Shakespeare Magazine’s Editor Pat Reid has previewed the Festival (and interviewed Festival Manager Jacqui Ham) for The Bristol Magazine

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Image: The Handlebards

Pat Reid writes:
Shakespeare Magazine is based in the city of Bristol, in the South West of England. We’re 70 miles from Stratford-upon-Avon (with which we share the River Avon) and 120 miles from London. But we’re very lucky to have a Shakespeare tradition all of our own. You may have heard of the historic Bristol Old Vic Theatre, along with its prestigious Theatre School. We also have a modern Shakespeare Tradition pioneered by the Tobacco Factory Theatres. And we have no less than four pubs named after Shakespeare!

But perhaps the most exciting event of all for a Bristol-based Shakespeare fan like myself is the annual Bristol Shakespeare Festival. This year the Festival is bigger than ever, with an impressive array of touring companies and one-off events taking over the city during the whole of July. I’m delighted to have once again been asked to preview Bristol Shakespeare Festival for The Bristol Magazine. I hope that it will encourage Bristolians to come out and enjoy a Shakespeare show. And I hope that visitors from further afield will also come and experience what Bristol has to offer. I can certainly promise that it will be “gert lush”, as we say in Bristol!

Read the full article in The Bristol Magazine here.

“Shakespeare loves women of colour…” We find out what Dr Farah Karim-Cooper of Shakespeare’s Globe has been working on – and learn about Shakespeare’s “alternative discourse of beauty”

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Photos by Bronwen Sharp

Which play or area of Shakespeare are you working on right now – and what are you getting from it?
I’m editing a book called Titus Andronicus: The State of Play, published by Arden – it’s a collection of essays examining what scholars are saying in 2017 about this important play. I have also just started researching a book about Shakespeare, Death and Spectatorship. I have not got an angle other than my interest in what happens to and within the spectator when they see someone die/killed. Either on stage or in reality.”

What have you learned about Shakespeare that would have surprised your younger self?
I have learned that he loves women of colour… which appeals to a Pakistani-American lady like myself! His dark lady sonnets (I’m oversimplifying) reveal an excitement at alternative beauty, the arguments for darker beauty in A Midsummer Night’s Dream and Love’s Labour’s Lost suggest that he was engaging in what the terrific scholar Kim F. Hall has described as an alternative discourse of beauty – beauty that is brown, black or just not white. P.S. read Hall’s classic Things Of Darkness: Economies of Race and Gender in Early Modern England.”

Which Shakespeare character most resembles you?
Um… see my answer to Question 2! But seriously, I am not sure. I think I have a lot of Shrew‘s Katherina in me – feisty and with very high standards!”

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If I ask you to give me a Shakespeare quotation, which is the first one that comes to mind?
‘Meantime we shall express our darker purpose.’ – King Lear.”

What’s your favourite Shakespeare-related fact, myth, story or anecdote?
I think my favourite Shakespeare-related fact/anecdote/myth is the one about the dismantling of The Theatre in order to move the timbers across the river and build the Globe. There’s a lot of myth surrounding that story, which makes little sense given there is a great deal of surviving record about it, but I like how the story has been compressed from a couple of major events – i.e. dismantling one playhouse and building another more glorious – taking place over months to something that happened overnight.

“I love the idea of this fantasy – that one morning, the Globe magically appeared on Bankside and that Shakespeare might have played a part in this. It is a wonderful story, as myth-laden as it is. I think an excellent research project would be to build an oak-framed theatre and see how long it takes to dismantle it! I know Peter McCurdy (of McCurdy & Co who built the Globe and Sam Wanamaker Playhouse) would like to try this!”

You have the power to cast anyone in the world (actor or otherwise) to play any Shakespearean character. Who do you choose – and which role do they play?
I want to see Adrian Lester play Hamlet. He’s one of my favourite Shakespearean actors and Hamlet is my favourite role. It would be unbelievable.”

Dr Farah Karim-Cooper is Head of Higher Education and Research, Globe Education.
Read our interview with Farah in Shakespeare Magazine 10

NEW: The Shakespeare Magazine JOBS PAGE is a regularly-updated list of job vacancies (including auditions, academic roles and courses) connected to Shakespeare and related fields

Please mention Shakespeare Magazine when applying for jobs.

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OPPORTUNITIES BELOW POSTED 04 August 2017

LOCATION: Stratford-upon-Avon, UK
JOB: The Shakespeare Birthplace Trust seeks a Learning Sales Administrator
CLOSING DATE: Not known
Go here for more information and to apply for this job.

LOCATION: Stratford-upon-Avon, UK
JOB: The Shakespeare Birthplace Trust seeks a Group Sales Administrator
CLOSING DATE: 06 August 2017
Go here for more information and to apply for this job.

LOCATION: Stratford-upon-Avon, UK
JOB: The Shakespeare Birthplace Trust seeks an Operations and Marketing Administrator
CLOSING DATE: 06 August 2017
Go here for more information and to apply for this job.

LOCATION: Stratford-upon-Avon, UK
JOB: The Shakespeare Birthplace Trust seeks a Retail Sales Assistant
CLOSING DATE: 06 August 2017
Go here for more information and to apply for this job.

LOCATION: Various, UK
OPPORTUNITY: 2018 auditions/backstage interviews for National Youth Theatre now open 
DETAILS: For ages 14-25
CLOSING DATE: Not known
Go here for more information and to apply.

JOBS or COURSES BELOW POSTED 07 July 2017

LOCATION: Bristol, UK
COURSE: One-week course on Acting in Shakespeare Plays
DETAILS: At Bristol Old Vic Theatre School, the course runs from Monday 24 July to Friday 28 July. Cost: £450
Go here for more information and to apply for a place on this course.

JOBS BELOW POSTED 02 July 2017

LOCATION: Terra Alta, West Virginia, USA
JOB: Writer/Scholar seeks experienced Editor for short (1-2 pages) Shakespeare articles for website, aimed at middle school students.
Prefer 20+ years experience teaching English Literature. International contributors are welcomed. Will be happy to discuss rates.
CLOSING DATE: This position is open until filled.
For more information and to apply for this job: Please contact Donald via email: donaldstump85@yahoo.com

LOCATION: London, UK
JOB: Bridge Theatre seeks an Assistant Director to work with Nicholas Hytner on Shakespeare’s Julius Caesar
CLOSING DATE: 10 am Monday 3 July 2017
Go here for more information and to apply for this job.

JOBS BELOW POSTED 25 June 2017

LOCATION: Stratford-upon-Avon, UK
JOB: The Shakespeare Birthplace Trust seeks an Assistant Retail Manager – Birthplace Gift and Book Shop
CLOSING DATE: 07 July 2017
Go here for more information and to apply for this job.

LOCATION: Stratford-upon-Avon, UK
JOB: The Shakespeare Birthplace Trust seeks a Retail and Reception Assistant
CLOSING DATE: 07 July 2017
Go here for more information and to apply for this job.

LOCATION: Stratford-upon-Avon, UK
JOB: The Shakespeare Birthplace Trust seeks Education Assistants – Make a Scene
CLOSING DATE: 02 July 2017
Go here for more information and to apply for this job.

LOCATION: Stratford-upon-Avon, UK
JOB: The Shakespeare Birthplace Trust seeks a Supporter Relations Officer
CLOSING DATE: 30 June 2017
Go here for more information and to apply for this job.

LOCATION: Stratford-upon-Avon, UK
JOB: The Shakespeare Birthplace Trust seeks a Development Coordinator
CLOSING DATE: 30 June 2017
Go here for more information and to apply for this job.

LOCATION: Stratford-upon-Avon, UK
JOB: The Shakespeare Birthplace Trust seeks a Catering and Hospitality Assistant
CLOSING DATE: 25 June 2017
Go here for more information and to apply for this job.

LOCATION: Stratford-upon-Avon, UK
JOB: The Shakespeare Birthplace Trust seeks a Catering Assistant
CLOSING DATE: 25 June 2017
Go here for more information and to apply for this job.

JOBS BELOW POSTED 20 June 2017

LOCATION: London, UK
JOB: Shakespeare’s Globe seeks a Building Operations Manager
CLOSING DATE: 5 July 2017
Go here for more information and to apply for this job.

LOCATION: London, UK
JOB: Shakespeare’s Globe seeks an Assistant Front of House Volunteer Manager
CLOSING DATE: 3 July 2017
Go here for more information and to apply for this job.

LOCATION: London, UK
JOB: Shakespeare’s Globe seeks a Globe Education Coordinator, Learning Projects
CLOSING DATE: 3 July 2017
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LOCATION: Stratford-upon-Avon, UK
JOB: The Royal Shakespeare Company seeks a Head of Application Delivery
CLOSING DATE: 2 July 2017
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LOCATION: London, UK
JOB: Shakespeare’s Globe seeks a Globe education Coordinator, Higher Education
CLOSING DATE: 26 June 2017
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LOCATION: London, UK
JOB: Shakespeare’s Globe seeks a Theatre Assistant
CLOSING DATE: 25 June 2017
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LOCATION: London, UK
JOB: Shakespeare’s Globe seeks a Post-doctoral Research Fellow, Globe Education: Read Not Dead
CLOSING DATE: 21 June 2017
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LOCATION: Stratford-upon-Avon, UK
JOB: The Royal Shakespeare Company seeks an Assistant to the Director of Commercial Services & Director of Sales and Marketing
CLOSING DATE: 21 June 2017
Go here for more information and to apply for this job.

JOBS BELOW POSTED 16 June 2017

LOCATION: Ashland, Oregon, USA
JOB: Oregon Shakespeare Festival seeks a Human Resources Director
CLOSING DATE: Not Known
Go here for more information and to apply for this job.

LOCATION: Ashland, Oregon, USA
JOB: Oregon Shakespeare Festival seeks a Concessions Lead
CLOSING DATE: Application deadline is 12 July 2017
Go here for more information and to apply for this job.

LOCATION: San Francisco, California, USA
JOB: San Francisco Shakespeare Festival seeks an Education Director
CLOSING DATE: This position will be filled as soon as possible, ideally by 5 July 2017
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LOCATION: Ashland, Oregon, USA
JOB: Oregon Shakespeare Festival seeks a Scenic Artist
CLOSING DATE: 18 June
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LOCATION: Ashland, Oregon, USA
JOB: Oregon Shakespeare Festival seeks a Wig and Hair Technician
CLOSING DATE: This position is open until filled.
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LOCATION: Ashland, Oregon, USA
JOB: Oregon Shakespeare Festival seeks a Wig Master
CLOSING DATE: This position is open until filled.
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LOCATION: Ashland, Oregon, USA
JOB: Oregon Shakespeare Festival seeks a Company Manager
CLOSING DATE: This position is open until filled.
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Please mention Shakespeare Magazine when applying for jobs.