Olivia Hussey, whose spirited portrayal of Juliet when she was just a teenager herself became iconic for generations of people watching the 1968 film adaptation of Shakespeare’s play, died on December 27, 2024. In 2019, we were lucky enough to record an interview with Hussey. To honor her life and work, we’re bringing it to you again.

Olivia Hussey was just fifteen when Franco Zeffirelli cast her in Romeo and Juliet. When the film was released in October 1968, it catapulted her and Leonard Whiting, the young actor playing Romeo, to global stardom. For many Shakespeare lovers, Zeffirelli’s film is still the definitive film adaptation of the play. Fifty years after the movie’s release, Hussey’s memoir, The Girl on the Balcony: Olivia Hussey Finds Life After Romeo and Juliet, told the story of the actress’s life before, during, and after Romeo and Juliet.

We talked with Hussey and asked her how she felt about Shakespeare before making the movie (“very boring”), filming the balcony scene (“I’d bump my teeth into his chin”), the endless press tour, and whether she’d do it all again. Barbara Bogaev interviews Olivia Hussey.

From the Shakespeare Unlimited podcast. Originally published on January 22, 2019, and rebroadcast on January 13, 2025 © Folger Shakespeare Library. All rights reserved. This podcast episode, “Speak Again, Bright Angel,” was produced by Richard Paul. Garland Scott is the Associate Producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer; updated by Paola García Acuña. We had technical help from Andrew Feliciano and Paul Luke at VoiceTrax West in Studio City, California.

What does it mean to be called an “upstart crow”? In 1592, a pamphlet titled Greene’s groats-worth of witte described William Shakespeare, in the first allusion to him as a playwright, with this phrase, calling him “an upstart crow, beautified with our feathers.” This phrase sparked centuries of speculation. As Darren Freebury-Jones explores in his book, Shakespeare’s borrowed feathers: How early modern playwrights shaped the world’s greatest writer, Shakespeare’s so-called borrowing was neither unusual for the time nor a weakness—it was ultimately a testament to his genius.

Exploring how Shakespeare navigated a competitive theatrical scene in early modern England, Freebury-Jones reveals the ways in which Shakespeare reshaped the works of contemporaries like John Lyly, Thomas Kyd, and Christopher Marlowe into something distinctly his own. By combining traditional literary analysis with cutting-edge digital tools, he uncovers echoes of Lyly’s witty comedies and gender-bending heroines, Kyd’s tragic revenge dramas, and Marlowe’s powerful verse in Shakespeare’s early plays.

This episode sheds light on Shakespeare’s role as a responsive and innovative playwright deeply embedded in the early modern theatrical community. Listen in to learn more about the influences on the “upstart crow” as he created a canon of timeless works.

Dr Darren Freebury-Jones is author of the monographs: Reading Robert Greene: Recovering Shakespeare’s Rival (Routledge), Shakespeare’s Tutor: The Influence of Thomas Kyd (Manchester University Press), and Shakespeare’s Borrowed Feathers (Manchester University Press). He is Associate Editor for the first critical edition of The Collected Works of Thomas Kyd since 1901 (Boydell and Brewer). He has also investigated the boundaries of John Marston’s dramatic corpus as part of the Oxford Marston project and is General Editor for The Collected Plays of Robert Greene (Edinburgh University Press). His findings on the works of Shakespeare and his contemporaries have been discussed in national newspapers such as The Times, The Guardian, The Telegraph, The Observer, and The Independent as well as BBC Radio. His debut poetry collection, Rambling (Broken Sleep Books), was published in 2024. In 2023 he was elected a Fellow of the Royal Historical Society in recognition of his contributions to historical scholarship.

2024 has been the year of the iconic lovers Romeo and Juliet, and director Sam Gold has brought a bold new production of the timeless tragedy to Broadway. With a fresh, contemporary approach, Gold transforms Shakespeare’s classic love story into an immersive experience that features a dynamic young cast led by Rachel Zegler (West Side Story) and Kit Connor (Heartstopper) and an innovative score by Grammy-winning musician Jack Antonoff, blending live music seamlessly into the action. Gold discusses how he re-envisioned the play for today’s world, capturing the urgency and intensity of youth while staying true to the emotional heart of the original. He reflects on the challenges and joys of reinterpreting a well-known story and shares the creative process behind staging a Romeo and Juliet that feels relevant to a whole new generation of theatergoers, many of whom may be seeing their first Broadway.

Sam Gold is a Tony Award-winning director with an extensive Broadway and theater resume. His Broadway credits include An Enemy of the People (this season) with Jeremy Strong and Michael Imperioli, Macbeth with Daniel Craig and Ruth Negga, King Lear with Glenda Jackson, A Doll’s House, Part 2 (Tony Award Nomination), The Glass Menagerie, Fun Home (Tony Award), The Real Thing, The Realistic Joneses, and Seminar. Recent credits include Hamlet at The Public Theater, Othello at New York Theatre Workshop, The Flick (Lucille Lortel Award nomination) at Playwrights Horizons, Barrow Street Theatre, and the National Theatre, The Glass Menagerie (Toneelgroep, Amsterdam), John (Signature Theatre; Obie Award, Lortel and Drama Desk Award nominations), The Village Bike (MCC Theatre), and Uncle Vanya (Soho Repertory Theatre; Drama Desk nomination), among many others.

From the Shakespeare Unlimited podcast. Published December 16, 2024. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the associate producer. It was edited by Gail Kern Paster. We had help with web production from Paola García Acuña. Leonor Fernandez edits our transcripts. Final mixing services are provided by Clean Cuts at Three Seas, Inc.

What happens when a king believes he rules by divine right yet loses the trust of his people through his tyrannical actions? In this episode, acclaimed historian Helen Castor brings us into the world that inspired Shakespeare’s most celebrated history plays.

Castor’s latest book, The Eagle and the Heart: The Tragedy of Richard II and Henry IV, peels back the layers of history to reveal the human drama behind a deadly royal rivalry. From Richard’s glittering but ill-fated reign to Henry’s reluctant haunted rule, this engaging discussion uncovers the timeless lessons behind the rise and fall of two kings. Packed with historical insight and fresh perspectives, this episode is a must-listen for history buffs, Shakespeare enthusiasts, and anyone curious about the delicate balance between power and duty.

Helen Castor is an acclaimed medieval and Tudor historian. Her first book, Blood and Roses: The Paston Family in the Wars of the Roses, was longlisted for what is now known as the Baillie Gifford Prize for Nonfiction and won the English Association’s Beatrice White Prize. Her next two books, She-Wolves: The Women Who Ruled England Before Elizabeth and Joan of Arc: A History were both on numerous Best Books of the Year lists and made into documentaries for BBC television, and Joan of Arc was longlisted for the PEN America/Jacqueline Bograd Weld Award for Biography. She has one son and lives in London.

From the Shakespeare Unlimited podcast. Published December 3, 2024. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the associate producer. It was edited by Gail Kern Paster. We had help with web production from Paola García Acuña. Leonor Fernandez edits our transcripts. Final mixing services are provided by Clean Cuts at Three Seas, Inc.

Forget dusty textbooks and silent classrooms—the Folger Shakespeare Library has released new teaching guides designed to make the Bard’s works more engaging, accessible, and inclusive than ever before. In this episode, Peggy O’Brien, the editor behind these guides, and teachers Deborah Gascon and Mark Miazga, co-authors of the lesson plans for Romeo and Juliet and Macbeth respectively, explore how the Folger Method transforms student understanding by focusing on performance, collaboration, and creative engagement with Shakespeare’s language.

The discussion also addresses how the guides tackle important topics like race and gender and how to adapt to today’s technological and social challenges, offering fresh strategies to connect with students in meaningful ways about Shakespeare and all kinds of literature. Whether you’re a teacher, a student, or simply a Shakespeare lover, this episode sheds light on innovative methods for bringing the classics to life and ensuring they remain relevant for future generations.

About the Folger Guides to Teaching Shakespeare

The Folger Guides to Teaching Shakespeare series offers educators fresh insights, innovative tools, and detailed lesson plans for teaching Shakespeare’s most frequently taught plays. Rooted in the proven Folger Method and informed by the experiences of classroom teachers across the United States, the guides are designed to make Shakespeare accessible, engaging, and relevant for today’s students.

> > The new teaching guides are available for purchase online at the Folger Shop.

Peggy O’Brien is a classroom teacher and the founder of the Folger Shakespeare Library’s Education Department. Since 1981, she has championed K–12 Shakespeare education, establishing the Teaching Shakespeare Institute and serving as the instigator and general editor of the Shakespeare Set Free series. From 2013 to 2024, Peggy returned to the Folger to serve as Director of Education, during which she oversaw the creation of the Folger Guides to Teaching Shakespeare.

Deborah Gascon is a National Board-Certified teacher of English and Journalism in Columbia, South Carolina, and a Fulbright Teacher Exchange alum who taught English in Romania. A graduate of the 2012 Teaching Shakespeare Institute, she has served as a mentor teacher for the Folger Summer Academy. Deborah holds a doctorate in Curriculum and Instruction from the University of South Carolina, with a dissertation on using Shakespeare to enhance student comprehension, empathy, and awareness of gender and race. She co-wrote the lesson plans for The Folger Guide to Teaching Romeo and Juliet.

Mark Miazga teaches English at Baltimore City College High School, one of the nation’s oldest public schools, where he works within the International Baccalaureate Diploma and Middle Years Programs. A recipient of the Milken Educator Award in 2014, Mark is a 2008 Teaching Shakespeare Institute scholar and a 2013 Steinbeck Institute Scholar. He holds a BA in English and Education from Michigan State University and a Master’s in Secondary Education from Towson University. Mark co-wrote the lesson plans for The Folger Guide to Teaching Macbeth.

From the Shakespeare Unlimited podcast. Published November 18, 2024. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the associate producer. It was edited by Gail Kern Paster. We had help with web production from Paola García Acuña. Leonor Fernandez edits our transcripts. Final mixing services are provided by Clean Cuts at Three Seas, Inc.

Can you love Shakespeare and be an antiracist? Farah Karim-Cooper’s book The Great White Bard explores the language of race and difference in Shakespeare’s plays. Dr. Karim-Cooper also looks at the ways Shakespeare’s work became integral to Britain’s imperial project and its sense of cultural superiority.

But, for all this, Karim-Cooper is an unapologetic Shakespeare fan. It’s right there in the subtitle of her book: “How to Love Shakespeare While Talking about Race.” Far from casting Shakespeare out of the classroom or playhouse, Karim-Cooper shows new ways to appreciate him. By drawing connections between the plays and current events, she offers an eyes-wide-open tour of Shakespeare’s continued relevance. Karim-Cooper talks with Barbara Bogaev about the role of race in Titus Andronicus, Othello, Romeo and Juliet, and more.

Farah Karim-Cooper, is the new Director of the Folger Shakespeare Library, was previously a Professor of Shakespeare Studies at King’s College London and Director of Education at Shakespeare’s Globe. The Great White Bard is available now from Viking Press.

From the Shakespeare Unlimited podcast. Originally published August 15, 2023, updated and rebroadcast November 5, 2024. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Paola García Acuña is the web producer and edited this transcript. We had technical help from Mark Dezzani in Surrey and Voice Trax West in Studio City, California. Final mixing services provided by Clean Cuts at Three Seas, Inc

Shakespeare is often associated with tragedy, but did you know that he changed the genre? In this episode, Rhodri Lewis, professor of English at Princeton University and author of Shakespeare’s Tragic Art, explores how Shakespeare redefined tragedy in ways that still feel modern today. Through a close examination of plays like Titus Andronicus, Romeo and Juliet, and King Lear, Lewis explains how Shakespeare shifted the traditional classical form of tragedy, introducing characters who deceive themselves and struggle to understand their own nature. From the slasher-style Titus to the complex interiority of Juliet, Shakespeare experimented with plot, language, and character to push the boundaries of tragic drama, giving audiences an unsettling yet profoundly human insight into the flawed nature of existence.

Rhodri Lewis teaches English at Princeton University. His previous books include Hamlet and the Vision of Darkness (Princeton) and Language, Mind, and Nature: Artificial Languages in England from Bacon to Locke. Outside the academy, he writes for publications including The Times Literary Supplement, Prospect, The Literary Review, and The Los Angeles Review of Books.

From the Shakespeare Unlimited podcast. Published October 21, 2024. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the associate producer. It was edited by Gail Kern Paster. We had help with web production from Paola García Acuña. Leonor Fernandez edits our transcripts. Final mixing services are provided by Clean Cuts at Three Seas, Inc.

Forget witches, broomsticks, and cauldrons bubbling over—when it came to real magic in Shakespeare’s time, most people turned to their local cunning folk. These magical practitioners wielded spells to cure illnesses, recover lost items, and even spark a bit of romance. Far from the dark, devilish image popularly associated with witchcraft, cunning folk were trusted members of society, providing magical services as casually as a modern-day plumber or dentist.

In this episode, Barbara Bogaev talks with Tabitha Stanmore, a scholar from the University of Essex, about the fascinating, overlooked world of practical magic in early modern England. Drawing from her new book, Cunning Folk: Life in the Era of Practical Magic, Stanmore sheds light on how cunning folk, who served as diviners, astrologers, charm makers, and healers, shaped the lives of both ordinary people and royals alike. These practitioners were called upon for everything from predicting the future to healing the sick, and their magic was seen as helpful, not harmful. Stanmore explains how these magical practices were woven into the fabric of daily life and how cunning folk managed to steer clear of the persecution that plagued so-called witches.

Stanmore shares the fascinating methods cunning folk employed—from using bread and cheese to identify thieves to casting love spells with fish (seriously!)—and why their magic was essential in a world that still sought out supernatural help. If you thought magic in Shakespeare’s time was all witches and broomsticks, think again—Stanmore takes us on a magical journey that’s far more practical…and surprising.

Tabitha Stanmore is a social historian of magic and witchcraft at the University of Exeter. She is part of the Leverhulme-funded Seven County Witch-Hunt Project, and her doctoral thesis was published as Love Spells and Lost Treasure: Service Magic in England from the Later Middle Ages to the Early Modern Period.

From the Shakespeare Unlimited podcast. Published October 7, 2024. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the associate producer. It was edited by Gail Kern Paster. We had help with web production from Paola García Acuña. Leonor Fernandez edits our transcripts. Final mixing services are provided by Clean Cuts at Three Seas, Inc

How did Shakespeare engage with the complexities of gender and sexuality in his time? Was his portrayal of cross-dressing and same-sex attraction simply for comedic effect, or did it reflect a deeper understanding of queer desire? In this episode, host Barbara Bogaev speaks with scholar Will Tosh, who delves into these questions through his new book Straight Acting: The Hidden Queer Lives of William Shakespeare. Tosh, Head of Research at Shakespeare’s Globe, explores Shakespeare’s work in the context of early modern London—a city bustling with queer subcultures.

This conversation touches on Shakespeare’s depictions of gender fluidity, same-sex desire, and the influence of classical literature on his plays. The episode highlights the cultural and social dynamics of the time, revealing the complex ways in which gender and sexuality were understood and expressed in early modern England. Tosh also examines Shakespeare's schooling, shaped by homoerotic classics like Cicero’s De Amicitia and Ovid’s Metamorphoses, which deeply influenced his writing.

>>Discover Straight Acting by Will Tosh—a literary biography that opens a window into Shakespeare’s queer subtexts, available now from Seal Press.

Tosh’s conversation offers a nuanced exploration of how Shakespeare navigated and represented homoerotic relationships, with specific attention to characters such as Antonio and Sebastian from Twelfth Night. He also connects Shakespeare’s work with the wider culture of early modern England, where queer desire was both expressed and concealed.

Will Tosh is head of research at Shakespeare’s Globe, London. He is a scholar of early modern literature and culture, a dramaturg for Renaissance classics and new plays, and a historical adviser for television and radio. He is the author of two previous books, and he appears regularly in the media to discuss Shakespeare and his world. He lives in London.

How can educators effectively incorporate discussions about race into the study of Shakespeare and other premodern texts in the college classroom? Barbara Bogaev speaks with scholars Ayanna Thompson and Ruben Espinosa about Throughlines, a pedagogical resource developed by the Arizona Center for Medieval and Renaissance Studies at Arizona State University. This free online tool offers professors a variety of accessible teaching materials for incorporating premodern critical race studies into their teaching. Specifically designed for use in higher education, the materials include lectures, syllabi, and activities on a unique and expansive range of topics that will continue to grow.

>>Explore Throughlines, a free online resource for the college classroom at throughlines.org

Espinosa and Thompson share their experiences teaching Shakespeare in diverse higher education settings. Their conversation underscores students' need for open dialogue and provides practical strategies for navigating these discussions. They offer valuable insights for experienced professors and those new to teaching, highlighting the value of integrating premodern critical race studies into studying Bard's works and other literature and history.

Ayanna Thompson

Ayanna Thompson is a Regents Professor of English at Arizona State University and Executive Director of the Arizona Center for Medieval and Renaissance Studies. Thompson, an influential Shakespeare scholar, is the author of many titles, including Blackface and Shakespeare in the Theatre: Peter Sellars. She is currently collaborating with Curtis Perry on the Arden4 edition of Titus Andronicus. Thompson's leadership extends beyond the university, serving on the boards of the Royal Shakespeare Company, Play On Shakespeare, and Folger Shakespeare Library. She is a Shakespeare Scholar in Residence at The Public Theater in New York. In 2021, she was elected to the American Academy of Arts and Sciences.

Ruben Espinosa

Ruben Espinosa is the Director of the Arizona Center for Medieval and Renaissance Studies and a Professor of English at Arizona State University. He is the author of many titles, and most recently, Shakespeare on the Shades of Racism. He is the current President of the Shakespeare Association of America, and he serves on the Editorial Boards of Shakespeare Quarterly, Exemplaria: Medieval, Early Modern, Theory, and Palgrave's "Early Modern Cultural Studies" series. He is working on his next monograph, Shakespeare on the Border: Language, Legitimacy and La Frontera.