The story of one man's dream fulfilled, This Wooden "O" tells of American actor Sam Wanamake's efforts to reconstruct Shakespeare's Globe Theater. "A tale of intrigue and bitter rivalry, it reads more like a political thriller than a slice of recent theatrical history." -Time Out (London) "...an extraordinary document of human endeavor. When I got to the final pages I found there were tears running down my face." -Rosemary Harris

Wooden Os is a study of the presence of trees and wood in the drama of Shakespeare and his contemporaries – in plays set within forests, in character dialogue, and in props and theatre constructions. Vin Nardizzi connects these themes to the dependence, and surprising ecological impact, of London’s commercial theatre industry on England’s woodlands, the primary resource required to build all structures in early modern England. Wooden Os situates the theatre within an environmental history that witnessed a perceived scarcity of wood and timber that drove up prices, as well as statute law prohibiting the devastation of English woodlands and urgent calls for the remedying of a resource shortage that was feared would result in eco-political collapse. By considering works including Friar Bacon and Friar Bungay, the revised Spanish Tragedy, and The Tempest, Nardizzi demonstrates how the “trees” within them were used in imaginative ways to mediate England’s resource crisis.

Ben Iden Payne spent more than seventy years in the theatre in England and America. On his retirement at the age of ninety it was a very different theatre from the one he entered at nineteen on joining Frank Benson's touring Shakespeare company. That change was due in no small part to his own efforts. Payne could point to many experiences that would have guaranteed him a place in theatre annals: He was a director of the Abbey Theatre in Dublin. He staged plays for such stars as John Drew, William Gillette, John and Ethel Barrymore, Otis Skinner, and Helen Hayes. And for eight years he was general director of the Shakespeare Memorial Theatre at Stratford-upon-Avon. Though Payne's career fills three columns in Who's Who in the Theatre, two unique achievements stand out from the others. In 1907, as director of Miss Horniman's Gaiety Theatre company in Manchester, he initiated the repertory movement in England. In four years he brought it to a peak of excellence that has never been surpassed. Later, in America, he began a career in educational theatre that would span half a century. At the Carnegie Institute of Technology he developed his "modified Elizabethan staging" - a technique that has left an indelible mark on the production of Shakespeare's plays. In this memoir Payne recalls the English theatre at the turn of the century with wit and affection. His accounts of the popular actor-managers, the fit-up companies, the Playboy riots, and of Yeats, Miss Horniman, and William Poel vividly depict an era. He captures the spirit of the American theatre of the teens, twenties, and thirties - the flamboyance of its producers, the foibles of its stars, and the casting practices that reduced able actors to types. Above all, Payne tells of his consuming desire to recreate the basic conditions of Shakespeare's own theatre in order to present his plays most effectively. No antiquarian, he does not quibble over structural details of the "wooden O's" that housed Elizabethan stages. Instead he writes as a practical theatre man determined to achieve the continuous and fluid movement needed to preserve the "melodic line" of Shakespeare's plays. The success with which he pursued this ambition has influenced theatre design and inspired others to carry on his work. Yet, in spite of the distinction of his long career, Payne recalls it with the modest simplicity that endeared him to generations of actors and students.

Journeying into the sound-worlds of Shakespeare's contemporaries, this text explores the physical aspects of human speech and the surrounding environment, as well as social and political structures.

Wooden Os is a study of the presence of trees and wood in the drama of Shakespeare and his contemporaries – in plays set within forests, in character dialogue, and in props and theatre constructions. Vin Nardizzi connects these themes to the dependence, and surprising ecological impact, of London's commercial theatre industry on England's woodlands, the primary resource required to build all structures in early modern England. Wooden Os situates the theatre within an environmental history that witnessed a perceived scarcity of wood and timber that drove up prices, as well as statute law prohibiting the devastation of English woodlands and urgent calls for the remedying of a resource shortage that was feared would result in eco-political collapse. By considering works including Friar Bacon and Friar Bungay, the revised Spanish Tragedy, and The Tempest, Nardizzi demonstrates how the “trees” within them were used in imaginative ways to mediate England's resource crisis.

(Book). Shakespeare was a man of the theatre to his core, so it is no surprise that he repeatedly contemplated the nuts and bolts of his craft in his plays and poems. Shakespeare scholar Nick de Somogyi here draws together all the cherishable set pieces including "All the world's a stage," Hamlet's encounters with the Players, and Bottom's amateur theatricals along with many other oblique but no less revealing glances, and further insights into theatre practice by Shakespeare's contemporaries and rivals. De Somogyi's commentary takes us through the entire process of Shakespeare's theatrical production, from its casting and auditions, via rehearsals, costumes, and props, to its premiere and audience reception. Shakespeare on Theatre eavesdrops on the urgently whispered noises-off in the "tiring-house" and inhales the heady aroma of the Globe's first audiences.