Peter Kirwan is Associate Professor in Early Modern Drama at the University of Nottingham, UK. His recent books include Shakespeare and the Idea of Apocrypha (2015) and Canonising Shakespeare: Stationers and the Book Trade, 1640–1740 (with Emma Depledge, 2017).

Kirwan draws on extensive interviews, notations from rehearsals, and multiple viewings of productions both live and on video to describe the company’s aesthetic in impressive detail. The book succeeds in confirming Cheek by Jowl’s place among the most celebrated classical ensembles working today.

• List of illustrationsSeries PrefaceAcknowledgementsIntroduction1. Shakespeare of Roscommon: Tracing a Cheek by Jowl ProductionThe Winter’s Tale (2016-17) and Lady Betty (1989)2. Touching the Void: Bodies and SpaceMacbeth (2009-11) and The Duchess of Malfi (1995-6)3. ‘If I were a woman’: The All-Male EnsembleTwelfth Night (2003-) and As You Like It (1991-5)4. Cutting and Cross-Cutting: Filmic Space and the TextCymbeline (2007) and The Tempest (2011-)5. Conceptual Rooms: Designing Not-Shakespeare‘Tis Pity She’s a Whore (2011-14) and Ubu Roi (2013-15)6. Empathy and LonelinessMuch Ado about Nothing (1998) and Measure for Measure (2013-)Conclusion: EvolutionsAppendixNotesReferencesIndex

Peter Kirwan is Associate Professor in Early Modern Drama at the University of Nottingham, UK. His recent books include Shakespeare and the Idea of Apocrypha (2015) and Canonising Shakespeare: Stationers and the Book Trade, 1640–1740 (with Emma Depledge, 2017).

Kirwan draws on extensive interviews, notations from rehearsals, and multiple viewings of productions both live and on video to describe the company’s aesthetic in impressive detail. The book succeeds in confirming Cheek by Jowl’s place among the most celebrated classical ensembles working today.

• List of illustrationsSeries PrefaceAcknowledgementsIntroduction1. Shakespeare of Roscommon: Tracing a Cheek by Jowl ProductionThe Winter’s Tale (2016-17) and Lady Betty (1989)2. Touching the Void: Bodies and SpaceMacbeth (2009-11) and The Duchess of Malfi (1995-6)3. ‘If I were a woman’: The All-Male EnsembleTwelfth Night (2003-) and As You Like It (1991-5)4. Cutting and Cross-Cutting: Filmic Space and the TextCymbeline (2007) and The Tempest (2011-)5. Conceptual Rooms: Designing Not-Shakespeare‘Tis Pity She’s a Whore (2011-14) and Ubu Roi (2013-15)6. Empathy and LonelinessMuch Ado about Nothing (1998) and Measure for Measure (2013-)Conclusion: EvolutionsAppendixNotesReferencesIndex