Throughout Shakespeare’s lifetime there were dozens of books printed on plants called herballs. These books contained drawings of various grasses, flowers, herbs, and trees that grew in England. The drawings we have surviving today total more than 1,000 woodcuts from Shakespeare’s lifetime literally illustrating for us that the plant industry in England was big business for the same publishing houses producing Shakespeare’s plays. Our guest this week, Sarah Neville, joins us to explore this part of the publishing industry and explain where herballs came from, who wrote them, and most of all, what kind of person wanted to buy them during Shakespeare’s lifetime. 

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In Shakespeare’s Pericles, the character Thasia gives birth on a ship at sea and, dying in childbirth, is thrown overboard in her coffin by Pericles. There’s a great deal to unpack in the story about this moment, but seeing it happen in the play lead me to wonder: Were women really traveling on board ships in the 16th century (sailing and exploration being typically a male profession, and even when the Pilgrims sailed to the New World, the Mayflower was unique in allowing both women and children aboard.) To help us understand what the place of women on ships was in the 16th C, whether there were any standards of care offered, and how births like Thasia’s might have been handled off stage and in the real 16th century world in which Shakespeare was living is our guest, Kasia Burzyńska

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One of the byproducts of introducing disruptive innovation to the theater industry of the 16th century is that not everyone is a fan of your work. For William Shakespeare, as he and his compatriots masterminded theaters like the Globe and the Blackfriars, there was a considerable faction of Puritans in London who felt their work was corrupting the city and sought fervently to stop it. Our guest this week, Chris Laoutaris, is the author of Shakespeare and the Countess, the book that tells the remarkable story of how one woman in particular put up a memorable fight to try and stop one of the greatest theaters in history. 

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Many of Shakespeare’s most powerful scenes are based on physical action that isn’t directly written about in the scripts of his works. For example, when Ophelia goes mad and demonstrates her madness on stage, we know for certain what she says during that scene because her lines are written out for us but it’s unclear what her physical movements should be on stage. Similarly, in fight scenes, like brawls, riots, or acts of domestic abuse that happens within Shakespeare’s plays, it is up to interpretation of the director as to how the actors would have performed. Our guests this week, Jared Kirby and Seth Duerr, have decided to take some of the guesswork out of these scenes by investigating the history of fights, physical violence, and stage performance to determine what kind of actions should accompany the fights, assaults, struggles, and foul play in Shakespeare’s plays.

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Born in the late 1480s, and dying an astonishing one hundred and fifty two years later in 1635, Old Tom Parr is famous for living longer than any man in England before or since his lifetime. Overlapping Shakespeare’s lifetime entirely, being born before the bard and living more than twenty years after the bard’s death, Old Tom Parr was born in Alderbury, England, and lived in Shropshire, where still today there is a small cottage called Old Parr’s Cottage that you can visit today. The cottage’s preservation and that of Old Tom Parr’s memory is a testament to this man’s extraordinarily long life. His longevity has been attributed to a unique diet, and specifically enjoying what one 16th Century physician called a “care free” life. To put the length of his life into perspective, Old Tom Parr would have lived through both the Battle of Bosworth, and Shakespeare’s retelling of it on the early modern stage over 100 years later. A portrait of Old Tom Parr hangs in the Shrewsbury Museum and Art Gallery, and one of the curators there, Emma Kate Lanyon, joins us today to share the history of this portrait, as well as details into the surprising life, and death, of the longest living man from Shakespeare’s lifetime: the real Old Tom Parr

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Shakespeare references “beer” in his works 6 times, drawing attention to specific kinds of beer like “small beer” “double beer” and even one reference in Hamlet to beer barrels where the Prince of Denmark suggests that beer barrels had a stopper to keep them sealed. Drinking beer in Shakespeare’s lifetime was almost as regular as drinking water is today. So whenever you were thirsty, drinks like ale, beer, and spirits were much safer. This beer drinking reality means that there was a strong economy for beer making and distilling in Elizabethan England, including unique storage methods, containers, and even some versions of beer like small and double beer that are obsolete today. To find out exactly what the state, varieties, and industry was behind beer for Shakespeare, we have invited our guest this week, Richard Unger, expert in the beer making of Elizabethan England, and author of the book “Beer in the Middle Ages and the Renaissance” to help us explore the history of how beer was made for the life of William Shakespeare.

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700 years before Shakespeare a man named Saint Swithun established his place in history mostly because of the miracles that surrounded his death and burial. St. Swithun would capture the imagination of writers for centuries after his death, with one of his most famous miracles being recorded in a book called Historia major from the 15th century. The early 13th century saw a shrine built to St. Swithun was not demolished until 1538, just 26 years before Shakespeare was born. This imposing figure on the English consciousness was celebrated during Shakespeare’s lifetime and continues to be celebrated today in England, every July 15. 

In exploring the history of St. Swithun’s day, I discovered one man who was potentially named after the popular St. Swithun who is not only a contemporary to William Shakespeare, but would himself go on to be canonized in the 20th century by Pope Paul VI. Swithun Wells was a Roman catholic martyr during the life of Elizabeth I. His family was known to house and shelter catholic recusants during Shakespeare’s lifetime, with Swithun Wells was executed by Elizabeth I for housing catholics. Here today to give us all these details about the holiday, how it was celebrated for Shakespeare, the history of the other Swithun from Shakespeare's lifetime, and even what science is behind how the holiday is celebrated today is expert in British History and our friend, Philippa Brewell. 

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One of the most powerful aspects of modern day theater performance is the spooky sounds, creaking doors, or the wailing noises of the witches across the moor. These same sound effects were important on stage for Shakespeare’s original performances of his plays, as well, but as you might imagine, with a decidedly less computer-based generation. While the bard’s selection of performance sound may not have been based on anything created by Steve Jobs, the technology was no less impressive with implements designed specifically to generate the sound of waves in the ocean, rain falling down, and even thunder. Here today to share with us some of the history of mechanical sound production and the use of music on stage to set the scenery in the early modern theater are our guests, and experts in original practice of Shakespeare’s plays, Chris Johnston and Alexander Sovronsky. 

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One of the most remembered lines from Shakespeare’s Romeo and Juliet is when Sampson says “I bite my thumb at your sir!” It’s funny to us today partly because we don’t understand why someone would bite their thumb. We can tell from context that it's’ meant to be an insult, but do you know why it was insulting? Culture of the 16th-17th century when Shakespeare wrote lines about biting thumbs or making figs were similar gestures to giving the finger, or even milder gestures like putting your hands on your hips to indicate impatience. We recognize the cultural gestures of our own lifetime like hook ‘em horns or the “A-ok” symbol, but Shakespeare had these same kinds of specific body language communications as well that were just as well known for his audience as a facepalm might be for us today. Shakespeare uses the word “gesture” at least 10 times in his works with phrases like “there was speech in their dumbness, language in their very gesture” from A Winter’s Tale, or when he writes in the stage directions of the Tempest that Alonzo should use “a frantic gesture” when he comes on stage. From Sampson biting his thumb in Romeo and Juliet to the unwritten motions characters would have used when delivering their lines to indicate sarcasm, grief, insult, or shame, physical motions of the characters on stage were often just as, if not more, important to understand than the words themselves. Our guest this week has researched 16th century gestures and body language extensively and written about them in her book titled “Shakespeare’s Body Language: Shaming Gestures and Gender Politics on the Renaissance Stage.” Dr. Miranda Fay Thomas joins us this week to discuss gestures like biting thumbs but also assumptions we make about "praying hands" or "palm to palm." We are delighted to have her with us this week to explore gestures, symbols, and the culture of unspoken physical performance from Shakespeare’s lifetime. 

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In a series of highly political and pro-English history plays known as his “Henriad” performances, Shakespeare uses a variety of figurative words and expressions to describe the “Turks” or members of the Ottoman Empire. Almost all of Shakespeare’s references are rather negative towards the Ottomans, which at face value may lead you to believe that Shakespeare and his contemporaries were opposed to, or perhaps at war with, the Ottoman Empire in the 16th century. However, historical exploration into the real political situation of England towards the then-called Ottoman Turks was far from negative. In fact, Elizabeth I saw the Ottoman Empire as an essential ally in her post-Catholic England currently at war with Spain. So how do we reconcile the essential nature of the Ottoman Empire under Elizabeth I with Shakespeare’s negative references to them by the characters in his history plays? Our guest this week, Aisha Hussain, is here to take us back to the 16th century and introduce us to the Ottoman Empire, what it meant to be Turkish, and what we need to know about the Ottomans in Shakespeare’s plays.

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