I am interested in all aspects of early modern culture, but work particularly on drama, music, playhouse culture, and historical sense-scapes. One common thread is my interest in overlooked or obscured voices and perspectives, be those everyday opinions about music, or playhouse engagements with drama pursued by those not themselves professionally involved with the theatre. Such investigations often involve recourse to overlooked, partial and even tangential sources that might collectively serve to suggest the contours of historical practices and attitudes not conveniently preserved in more explicit archival accounts.
I began my research career thinking about music and playhouse performance, a topic that I continue to explore. My first monograph, Musical Response in the Early Modern Playhouse, 1603-1625,investigates non-specialist ideas about the experience of hearing music, and the influence of those ideas on playhouse music use. The book argues for a widespread and thoroughgoing musical dramaturgy in Jacobean drama that depends upon these non-specialist ideas. Published by Cambridge University Press in 2017 (paperback 2018), it won the Shakespeare’s Globe Book Award and the University English Book Prize, receiving praise for taking ‘a new approach in [its] analysis of how music was thought of, in both theoretical and popular terms, and how audiences, offstage and on, respond to it’, as well as for its ‘lucid, poised and graceful critical prose’.
I’ve also written a number of shorter articles and chapters on music, including pieces for Shakespeare Survey (2014), for Bill Barclay and David Lindley’s Shakespeare, Music and Performance (Cambridge, 2017), and for Mervyn Cooke and Christopher R. Wilson’s forthcoming Oxford Handbook of Shakespeare Music (Oxford, c. 2020). Topics range from inappropriate trumpets to the multi-sensory experience of music, via musician placement at indoor Jacobean playhouses. Musical Response takes a multi-sensory approach to musical performance, sensory studies being another long-standing interest that led to me co-editing The Senses in Early Modern England with Jackie Watson and Amy Kenny (Manchester, 2015) whilst I was working on the project.
I’m now working on a monograph examining Playgoing, Pleasure and Judgement in Early Modern England; the project will offer a new account of playhouse engagements with drama and was funded by a Leverhulme Trust Early Career Fellowship. Related publications include articles for Shakespeare Survey and Early Theatre (both 2017), respectively exploring audience attention to actors’ technical craft, and the relationship between print- and performance-based encounters with drama. I’m also busy co-editing a volume with Emma Whipday (Newcastle), examining Playing and Playgoing in Early Modern England (Cambridge, c. 2021), which follows on from a 2017 conference on the same topic funded by the Leverhulme Trust. The volume identifies and advocates a set of emergent methodologies in Shakespeare and early modern drama studies that draw eclectically upon literary-critical, theatre-historical and other approaches, showcasing such work and suggesting future directions for the field. Finally, I’m editing Shakespeare/Sense, a substantive state-of-the-discipline volume, for the new ‘Arden Shakespeare Intersections’ series.
Future research plans include some scholarly editing, investigation of Shakespeare’s musical afterlife in the repertory of the King’s Men, and some thinking about playhouse music’s archival traces (and the nature of the early modern archive itself)
I put my research into practice whenever possible by providing historical music research, arrangement and direction for productions of plays by Shakespeare and his contemporaries. As Early Modern Music Research Associate of Shakespeare’s Globe I contributed to the design of – and practical experiments in – the new Sam Wanamaker Playhouse, and provided historical music research for various productions including 'Original Practices' stagings of Richard III and Twelfth Night. As a musical director I have collaborated several times with Emma Whipday on research productions of early modern plays and masques, including one performance from actors' parts. I have also provided music research and arrangement for a fistful of 'Read Not Dead' staged readings at Shakespeare's Globe, most recently for Thomas Jordan's Tricks of Youth, chosen for performance by public vote following a pitch by director Nicola Pollard and myself in the Sam Wanamaker Playhouse in 2015. In 2014, I provided historical music research and historical theatre research for the BBC adaptation of Wolf Hall.