Summer with the Bard

Karen Acton, in The Real Antony and Cleopatra

Acton recieved her PhD in Greek and Roman History from the University of Michigan, and she is currently an assistant professor of classics at Washington University in St. Louis. Her research specializations are the history of Rome, especially in the late Republic and early Empire; Roman historiography; and Roman numismatics. She is currently working on a book about the idea of the emperor in the civil war of 69 CE, as well as a project concerning the production and circulation of coins in the mid-to-late Roman Republic.


Jami Ake, in Battle of the Sexes: The Women of Shakespeare and Why Shakespeare?

In addition to being an assistant dean and academic cordinator at Washington University in St. Louis, Ake is also a senior lecturer in the Interdisciplinary Projects in the Humanities program and the Department of Women, Gender, and Sexuality Studies. When not studying Shakespeare, she is greatly invovled with organizations that work against gender violence in St. Louis.



Mike Donahue, in Shakespeare: In the Park & in the Streets and Why Shakespeare?

With an BA from Harvard and an MFA from Yale in directing, Donahue is a NYC-based freelance director of new plays, classics, musicals, and opera. Some of his recent productions include Matthew  Lopez’s The Legend of Georgia McBride (MCC and Denver Center), Jen Silverman’s Phoebe in Winter (Clubbed Thumb), and Ethan Lipton’s Red-Handed Otter (Playwrights Realm).



Musa Gurnis, in The Birth of Theater As We Know It and Why Shakespeare?

An assistant professor of English at Washington University in St. Louis, Gurnis's research interests include Early Modern theater history, Post-Reformation culture, feminism and queer studies, and cultural materialism. Her current book in progress, Heterodox Drama: Theater in Post-Reformation London, focuses on the effects of everyday working conditions of London's commercial theaters on early modern theatergoers.


Robert Henke, in Commedia dell'Arte & the Tragicomedy: Shakespeare's Italian Influences and Why Shakespeare?

Henke is a professor of drama and comparative literature at Washington University in St. Louis, as well as the codirector of the Washington University Prison Education Project, a program that provides liberal arts college courses to inmates and staff at the Missouri Eastern Correctional Center in Pacific, Missouri. 


Joe Loewenstein, in The Upstart Crow: Shakespeare's feud with Robert GreeneFriends and Rivals: Shakespeare and the Competition; and Why Shakespeare?

Loewenstein serves as a prefessor of English and the director of the Humanities Digital Workshop and the Interdisciplinary Project in the Humanities at Washington University in St. Louis. His research focuses on Early Modern intellectual property, the prehistory of copyright, and prosody and poetics. Currently he devotes most of his scholarly energy to a cross-institutional study of the Complete Works of Edmund Spenser for Oxford University Press.


Bruce Longworthin Shakespeare: In the Park & in the Streets and Why Shakespeare?

Longworth is the associate artistic director of Shakespeare Festival St. Louis as well as a faculty member in the Conservatory of Theatre Arts at Webster University since 1985, where he is currently the head of the performance program. He has worked extensively in St. Louis and around the country as a director, actor, and voice and dialect coach.


Robert Wiltenburg, in "The Quality of Mercy": A Shakespearean theme and Why Shakespeare?

Wiltenburg serves as an adjunct associate professor of English and is the former dean of Univeristy College at Washington University in St. Louis, a role he held fornearly 20 years. His areas of expertise are Shakespeare, Milton, and the Renaissance.