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Is Joe Prospero Gay? Come and disver what has been said lately about this and what is Joe Prospero sayg about this.

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IS JOE PROSPERO GAY?

Joe Prospero has never ma any public statement about this, so all mors about if Joe Prospero is gay rema pletely unfound and unproven. However, there are people who say Joe Prospero is gay, but their ments have no nsistency or accuracy of any kd. In any se, celebri too often refe to talk about their private liv, so we n't predict which celebs are gay or straight.

Although Joe Prospero has never said to be homosexual, 's easier to e out the world of the celebri, as there have been many to precent this.

DISNEY HAS DRAWN AN OUTLE FOR GAY CHARACTERS

We'll be more than happy if you share wh any h news about the qutn - Is Joe Prospero gay? ”Apart om McKellen havg been a key gay rights mpaigner and Stewart beg married to a third wife, Sunny, the pair are also a theatril War of the Ros: McKellen om Lanshire (Burnley), Stewart Yorkshire-born (Kirkle). In the Victorian Era, homosexualy was a taboo ncept, so 's unrstandable that two women om high-class fai would be reluctant to acknowledge their mutual attractn out loud.

Lerer’s memoir lac together several threads: the ath of his father, who me out as gay late life; the formative impact of lerature on the thor’s life; and the thor’s relatnship to his own son, who spends his adolcence experimentg wh dgs before beg shipped away to a treatment facily. In the moments, gay life and culture are ep wedg their relatnship, the particulars of his fal days so unseemly that Lerer is, at moments, lerally unable to face them fully:.

And, a strikgly unkd move, after fdg leather gear and matchbooks om gay bars, Lerer go “back to his closet, lookg for anythg to make him human. Yet seems, aga and aga, that is exactly Lerer’s own disfort wh gay culture and life that prevents this. Many cintal moments attt to this bias, such as when his gay iend speaks “like he was lettg air out of a tire, ” turng his lisp to a banal punch le, or when he erroneoly clar that televisn superhero om the 1960s “should really be appreciated as the origs of mp, playful tal of effemat who fd themselv transformed for public malens, ” entirely ignorg the actual history and signifince of a cultural force that seemed signifint to his father’s life (not to mentn his e of the dated sult “effemat”).

*BEAR-MAGAZINE.COM* IS PROSPERO GAY

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BaseLk-eNWuiM ByleLk-gEnFiw iUEiRd ggMZaT cXqSTL eErqIx byle__name-lk button" href="/ntributors/cynthia-zar">Cynthia Zar</a></span></span></p></div><time data-ttid="ContentHearPublishDate" dateTime="2017-02-15T07:00:23-05:00" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ContentHearPublishDate-eIBicG iUEiRd kYZrFA kEBrdf">Febary 15, 2017</time></div></div></div></div><div class="LightboxWrapper-dxsWBV hhylRt"><div class="ContentHearLeadAsset-hGbumP iWPCcH lead-asset ContentHearLeadAssetWrapper-hfXHEc fTrSlG lead-asset--width-smallle" data-ttid="ContentHearLeadAsset"><figure class="ContentHearLeadAssetContent-kOfYSG dRGWbI"><div class="ContentHearLeadAssetContentMedia-bLEIpi jjhWdS lead-asset__ntent__photo"><span class="SpanWrapper-umhxW jvZaPI rponsive-asset ContentHearRponsiveAsset-bREgIb khLUzS"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz cVhbrW"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO KhjZz ContentHearRponsiveAsset-bREgIb khLUzS rponsive-image rponsive-image--expandable"><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w, 960w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w, 1920w, 2240w" siz="100vw"/><img alt="Playg Prospero Harriet Walter heads a multiethnic allwomen st Phyllida Lloyds productn of William Shakpear..." class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></picture></div></div></span><div class="CaptnWrapper-jSZdqE iTuhkZ ptn ContentHearLeadAssetCaptn-hPWmSN kuCzGS"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnText-bHjzlu iUEiRd hWyo iXWezO ptn__text">Playg Prospero, Harriet Walter heads a multi-ethnic, all-women st Phyllida Lloyd’s productn of William Shakpeare’s “The Tempt.”</span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT jbIJNS ptn__cred">PHOTOGRAPH BY TEDDY WOLFF / ST. ANN'S WAREHOUSE</span></div></div></figure><div data-ttid="ContentHearLeadRailAnchor" class="ContentHearLeadRailAnchor-jYVcDc djtEof"></div></div></div></div></hear></div><div data-attribute-verso-pattern="article-body" class="ArticlePageContentBackGround-cNiFNN kbAoLA article-body__ntent"><div class="ActnBarWrapperContent-lasBkU cAHp"><div class="ActnBarWrapperComponent-cjwxLS bEeSLb"><div data-attr-viewport-monor="" class="ActnBarWrapper-dhxmQh kNjTbQ viewport-monor-anchor"><button id="bookmark" aria-label="Save this story" class="ActnBarButton-dyFOZU hQrwCF bookmark large-screen"><span class="ActnBarSendaryButtonPrimaryIn-isbvyN cAwccV bookmark-button-in"><svg class="in in-bookmark" width="24" height="24" viewBox="0 0 24 24" fill="none" xmlns="><tle>Save this story</tle><path class="in-bookmark-fill" d="M20 23.9508L12.5 19.7312L5 23.9508V2.95081H14V3.93211H6V22.1845L12.5 18.5536L19 22.1845V8.83866H20V23.9508Z"></path><path class="in-bookmark-fill" d="M23 3H20V0H19V3H16V4H19V7H20V4H23V3Z"></path></svg></span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ActnBarButtonText-bYXYuh iUEiRd bkefvo gkccfO">Save this story</span></button></div><div data-attr-viewport-monor="" class="ActnBarWrapper-dhxmQh kAEsuD viewport-monor-anchor"><button id="bookmark" aria-label="Save this story" class="ActnBarButton-dyFOZU cjjxgx bookmark mobile"><span class="ActnBarSendaryButtonPrimaryIn-isbvyN cAwccV bookmark-button-in"><svg class="in in-bookmark" width="24" height="24" viewBox="0 0 24 24" fill="none" xmlns="><tle>Save this story</tle><path class="in-bookmark-fill" d="M20 23.9508L12.5 19.7312L5 23.9508V2.95081H14V3.93211H6V22.1845L12.5 18.5536L19 22.1845V8.83866H20V23.9508Z"></path><path class="in-bookmark-fill" d="M23 3H20V0H19V3H16V4H19V7H20V4H23V3Z"></path></svg></span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ActnBarButtonText-bYXYuh iUEiRd bkefvo gkccfO">Save this story</span></button></div></div></div><div class="LightboxWrapper-dxsWBV hhylRt"><div class="ArticlePageChunksContent-etcMtP bwyLBj"><div data-ttid="ArticlePageChunks" class="ArticlePageChunks-fLyCVG Uozmo"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa EOneK body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="has-dropp has-dropp__lead-standard-headg">Eight tim a week, a rowdy, vastatg, genr-bendg productn of Shakpeare’s “The Tempt” at St. Ann’s Warehoe, directed by Phyllida Lloyd, the Brish actrs Harriet Walter plays Prospero, the exiled De of Milan. Drsed sweatpants and a tank top, Prospero stalks through a dimished world—on an “isle full of nois”—peopled by his fifteen-year-old dghter, Miranda; Ariel, “an airy spre”; and Caliban, whom the stg not (which may have been wrten not by Shakpeare but by Ralph Crane, scrivener of the First Fol) scribe as “a savage and formed slave.” “The Tempt” is a fairy tale about isolatn, disorr, and legerma givg way to a jt and righted world. The productn is set a women’s prison.</p><p class="paywall">Recently, on Henry Street Brooklyn, a few blocks om the theatre, Walter cupped her hands, which are large and exprsive, wh unvarnished nails and whout rgs, around an amerino. Walter as Prospero is a drab jailbird; on this sleety afternoon, wearg a bright-red sweater, red troers, and red lipstick, she looked like a rdal. “I’m drsg to cheer myself up!” she said. “One of the thgs about playg Prospero is that one mt be entirely whout vany. It’s relaxg, a way.”</p><p class="paywall">Onstage and off, Walter, who is sixty-six, is an tent listener; she has said that nng, always, unr the current of her own life has been the hum of Shakpeare. She has wrten several lucid books on actg and other subjects, cludg “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">Other People’s Sho</a>” and “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">Facg It: Reflectns on Imag of Olr Women</a>.” Her newt book, “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">Bt and Other Hero</a>,” was published last fall. In , she discs the trajectory of an actor’s reer. “In Shakpeare’s time,” Walter said, “the women’s rol were tailored for boys, and th I thk those rol—though others might dispute me on this—were given greater breadth than women’s rol might have been <em>bee</em> they were played by boys: young boys need the experience of plex characters orr to grow to the bigger rol. I thk, actually, that Portia, Helena, and Beatrice might have been ls tertg and more nventnal if they had been <em>tend</em> for female actors, although of urse there were no female actors at the time.”</p><p class="paywall">Walter’s first profsnal Shakpeare role was as Ophelia, a productn of “Hamlet” directed by Richard Eyre at the Royal Court, 1980. She rells, “Ophelia is an telligent girl who is <em>utterly</em> stymied by the opprsive world she liv . Shakpeare would never have thought of a woman playg Bt, or Prospero, but is tertg to thk too, that, of urse, he would never have thought that a woman uld play Juliet, or Cleopatra!”</p><p class="paywall">In “Bt and Other Hero,” Walter wr about playg Portia, “The Merchant of Venice,” who disguis herself as a young man orr to addrs the urt on behalf of Anton—a part that was origally played by a boy who was playg a girl who was drsed as a man. I asked her about . She thks for a moment, then says, “When I me to play Portia, the trial scene, I <em>experienced</em> . I learned thgs about myself, and this add a dimensn to the part that Shakpeare never nsired: a woman brgg her <em>own</em> experience to bear, and, <em>like</em> Portia, I had a moment of sight to what <em>was</em> to be a man.”</p><p class="paywall">She drew a circle the air wh her fger, then punctured . “In Shakpeare’s day, the actg profsn was credibly young. I image to have been a mimetic craft: olr actors would monstrate, and younger actors would reproduce what they saw. I’m not sayg that at tim they would not have been moved to tears, but I don’t thk they stood around and said, ‘Draw on your memory of your father for this scene!’ It wasn’t required that you feel close to the character you play. Now that’s all part of the equipment! Different parts spire different thgs. For the parts, for Bt, for Henry IV, for Prospero, I learned that power om stillns, om not givg anythg away. All the thgs I tend to do as Harriet—hand gtur, speakg a good al—all of that, <em>gone</em>.” She psed. “Why do women feel the need to overexpla?”</p><div class="Contaer-bkChBi byNLHx"></div><p class="paywall">“The Tempt” is the third a seri of llaboratns between Walter and Lloyd. (The first two, which also opened first London and then moved to Brooklyn, were “Juli Caar” and “Henry IV.” Walter played Bt and Kg Henry, rpectively, those productns.) All the rol are played by women, and the ethnilly diverse st clus first-time performers. At St. Ann’s, before the hoe opens, an actor playg the role of a guard rts the ensemble, who are drsed prison garb, to the theatre, ont of a hhed and somewhat startled crowd. In the London st, one actrs, Jennifer Joseph, me to the pany om an actg workshop lled Cleanbreak, whose members are women who have been prison. U.S. Homeland Secury has refed to give Joseph, a sgle mother who served ten months, a ago, on a mor dg charge, a visa to enter the untry. She now has pany.</p><div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--article-mid-ntent" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--article-mid-ntent nsumer-marketg-un__slot---ntent"></div><div class="journey-un"></div></div></div><p class="paywall">Almost always, Shakpeare’s plays bee mirrors when held up to the moments which they are produced; Ralph Crane the scrivener was only the first among many annotators. In the lookg glass now is the Women’s March and the subsequent immigratn ban, and the ia of an all-women multi-ethnic Shakpeare troupe seemed to many the dience pecially exhilaratg. But om the start “The Tempt,” shy and mercurial, has been pecially reflective. It was probably first produced on All Sat’s Day, November 1, 1611, two years after a Brish ship ran aground the Bermudas; Shakpeare may have drawn on reports of that cint for his script. Sce the play was first produced, Prospero’s island has surely been Bermuda, Hai, and the Amerin South. Caliban has been portrayed, varly, as an Irishman, a Wt Indian, and an Ain. More recently, 2010, Julie Taymor directed a film of “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">The Tempt</a>,” which Prospero, played by Helen Mirren, beme Prospera—the Duchs, rather than the De, of Milan—about which Ben Brantley mented the New York <em>Tim</em> that “msg around wh Shakpeare is the bevilg vice of directors.”</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-1 viewport-monor-anchor"></div><p class="paywall">Phyllida Lloyd is a formidable director of opera and classic plays, although she is perhaps bt known as the director of “Mamma Mia,” the Abba mil, which opened the Wt End, 1999; she also directed <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">the movie versn</a>, 2007, wh Meryl Streep. In Lloyd’s 1994 stagg of “Pericl” London at the Natnal Theatre—another late Shakpeare play about a father and a dghter—the players Pericl meets on his sea journey all speak different languag. “I was pilloried for that!" Lloyd said. “I thk that islands and journeys some ways give permissn for the diversy I want to see on the stage. Shakpeare’s plays are worlds which everythg is possible. In ‘The Tempt,’ genr seems so fluid at the get-go. Ariel, what <em>is</em> he, or she? Prospero is both mother and father to Miranda.”</p><p class="paywall">In rearchg the stagg for this productn, Walter and Lloyd vised a number of women’s prisons. Over ffee, Walter explaed, “I thought, if I am a woman prison playg Prospero, what kd of prisoner am I?” On a vis to Bedford Hills Correctnal Facily, Wtchter, she met sixty-seven-year-old Judh Clark, a former member of the Weather Unrground who is servg a sentence of seventy-five years to life, for drivg the getaway r an armed robbery which three people were killed. Durg her 1982 trial, she refed to acknowledge the thory of the urt. At the time of her nvictn, she had an eleven-month-old dghter. (Recently, cg exceptnal self-velopment, Governor Andrew Cuomo muted Clark’s sentence; she up for parole this year.) In “The Tempt,” Walter is sentially actg a seri of characters: a woman prison for life for havg mted a crime agast the state—a versn of Judh Clark, who the play is lled Hannah, a female prisoner who is playg the role of Prospero.</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><asi class="PersistentAsiWrapper-VGrR daRVRt persistent-asi" style="posn:absolute;top:to;height:to" data-ttid="PersistentAsiWrapper"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="6rbht"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></asi></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="w64o"></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa EOneK body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="paywall">Lloyd told me, “When dienc see Harriet playg Hannah, who is playg Prospero, they are seeg a real person whose inty has been fed by rage, revenge, and fivens. When Harriet is onstage the last act, you feel you are tly the prence of that act of fivens; you are <em>wns</em> to that act. We behold unfoldg. Harriet clos the gap between herself and the material, and that way she clos for the dience. The masks are all off at the moment. That she has found that realm onstage through someone who has actually forfeed their eedom rais the stak. The play is about what n be done wh so ltle; wh the thgs we take away wh when everythg is lost, and what n be ma wh the ltle gems and favors to make this art.”</p><p class="paywall">The props for this productn of “The Tempt” are simple: a rope tied wh plastic bottl and trash, like a le barnacled wh flotsam, bright wh sad gaiety, a utilarian table, and a few chairs. In the marvello, dazzlg nuptial scene, when Prospero (as he has planned all along) bequeaths Miranda to the shipwrecked Ferdand, trippy whe balloons, rilient as radrops, fill up wh shimmerg, then menacg imag. For a moment, watchg transfixed om high up the stalls, I thought of the moment “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">The Great Gatsby</a>” which Nick Carraway first se Jordan Baker and Daisy Buchanan seemgly aloft on whe sofas, the curtas billowg—magic, pragg tastrophe. “O brave new world, which has such people !” says Miranda. “Tis new,” says her father, Prospero, “to you.”</p><p class="paywall">In Brooklyn, late the afternoon, the wd is g up the street om the river. Walter buttons her at. She has a tote her hand; she’s on her way to the lndromat. She loops over her shoulr, then stops and says, “On his ltle island, Prospero wields power wh threats, and wh spells. Shakpeare believed good ernment—as this, and much else, he was ahead of his time. Now we’ve e full circle— Shakpeare’s day, boys played girls, and genr did not matter. People often ask me, ‘How do you stay terted, week after week, day after day?’ Sometim n be que tough, but if you are lucky, as I am, and you have the big rol, what one is readg, and thkg, the nversatn I am havg now, the suatn of the world, which is so ighteng, all of the thgs fluence how I will be onstage tonight.”</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="2cfq9v"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 PaywallInleBarrierWhWrapperGrid-fyrGfS kLQIUk grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="body body__le-barrier article__body"><div class="ntaer ntaer--body"><div class="ntaer--body-ner"><asi class="PaywallInleBarrierWrapper-iBnuqk lfXXa-D" data-ttid="PaywallInleBarrierWrapper"><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--paywall-le-barrier" role="prentatn" aria-live="pole" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--paywall-le-barrier"></div><div class="journey-un"></div></div></asi></div></div></div></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ContentWrapperGrid-fvkmBv brYtrA grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="body body__ntaer"><div class="ntaer ntaer--body"><div class="ntaer--body-ner"></div></div></div></div></div></div></article><div class="ContentFooterWrapper-jVNdRG dTJkpP ArticlePageContentFooterGrid-ccsXYy eMZRHU article-body__footer"><div class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"></div></div></div><div class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="ContributorsWrapper-eNpWFu GWFsc ntributors" data-ttid="Contributors"><div class="ContributorBWrapper-bnVHbt gMon"><div class="ContributorBContent-ubQdr jZTSSi"><div class="ContributorBHear-ledood XOIEx"></div><div class="ContributorBB-fBolsO giFhKz"><a href="/ntributors/cynthia-zar">Cynthia Zar</a>, a regular ntributor to The New Yorker sce 1983, teach at Yale. Her forthg books are the novel “<a href=">Inverno</a>” and “Next Day: New and Selected Poems.”</div><div class="ContributorBFooter-brqDlv ezUmSv"></div></div></div></div></div></div></div><div class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div data-ttid="TagCloudWrapper" class="TagCloudWrapper-gGgndx ctyZyK ContentFooterTagCloud-krQmRG ZLGh"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudSectnHear-cOforY iUEiRd bPyAoD kQQRmu">More:</span><a href="/tag/phyllida-lloyd" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Phyllida Lloyd</span></a><a href="/tag/shakpeare" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Shakpeare</span></a><a href="/tag/the-tempt" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">The Tempt</span></a></div></div></div></div><div data-ttid="ContentFooterBottom" class="ContentFooterBottom-jwWZfC kcbyiW"><div class="ContentFooterNewsletterContentWrapper-bmjtna kixtae"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div data-ttid="NewsletterSubscribeFormWrapper" class="NewsletterSubscribeFormWrapper-fCqqkN jKSBhE newsletter-subscribe-form ContentFooterNewsletterForm-hKeYwa liPqcf"><div data-ttid="NewsletterSubscribeFormHedDekWrapper" class="NewsletterSubscribeFormHedDekWrapper-fpMElW eglIBL"><h3 class="NewsletterSubscribeFormDangeroHed-kRwWjt feDzQf newsletter-subscribe-form__hed ContentFooterNewsletterForm-hKeYwa liPqcf">Gogs On</h3><div class="NewsletterSubscribeFormDek-kXonvc grEaES newsletter-subscribe-form__k">What we’re watchg, listeng to, and dog this week, onle, N.Y.C., and beyond. 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SummaryItemRubric-dguGKN lapGFj summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Annals of Technology</span></div><a class="SummaryItemHedLk-civM dVrbhU summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-1" data-recirc-pattern="summary-em" href="/tech/annals-of-technology/crowdsourcg-for-shakpeare" target="_self"><div class="SummaryItemHedBase-hiFYpQ fzzTdh summary-em__hed" data-ttid="SummaryItemHed">Crowdsourcg for Shakpeare</div></a><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd 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SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz ktcjQn"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="Two Ways to Brg Shakpeare Into the Twenty-First Century" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl XMZX summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN lapGFj summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Page-Turner</span></div><a class="SummaryItemHedLk-civM dVrbhU summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-2" data-recirc-pattern="summary-em" href="/books/page-turner/two-ways-to-brg-shakpeare-to-the-twenty-first-century" target="_self"><div class="SummaryItemHedBase-hiFYpQ fzzTdh summary-em__hed" data-ttid="SummaryItemHed">Two Ways to Brg Shakpeare Into the Twenty-First Century</div></a><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Daniel Pollack-Pelzner</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hNpSyX summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below summary-em--layout-posn-image-left summary-em--layout-proportns-50-50 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm hKqhyj" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb cPpCwE summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-3" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz ktcjQn"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa 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SummaryItemDek-CRfsi iUEiRd kxnNhB jDyfzW summary-em__k">I did everythg I uld to avoid wrg my historil novel. When I fally started “The Frd,” one prciple was clear: no Dickens.</div><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Zadie Smh</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hNpSyX summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below summary-em--layout-posn-image-left summary-em--layout-proportns-50-50 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm hKqhyj" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb cPpCwE summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-4" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz ktcjQn"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="The Supreme Court Overturns Fifty Years of Precent on Affirmative Actn" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl XMZX summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN lapGFj summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Daily Comment</span></div><a class="SummaryItemHedLk-civM dVrbhU summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-4" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ fzzTdh summary-em__hed" data-ttid="SummaryItemHed">The Supreme Court Overturns Fifty Years of Precent on Affirmative Actn</div></a><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd kxnNhB jDyfzW summary-em__k">A nservative Court holds that stunt-body diversy is not a “pellg tert.”</div><div class="SummaryItemByleWrapper-boCfbi cuRXdL 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