As She Likes It is the first attempt to tackle head on the enduring question of how to perform those unruly women at the centre of Shakespeare's comedies. Unique amongst both Shakespearian and feminist studies, As She Likes It asks how gender politics affects the production to the comedies, and how gender is represented, both in the text and on the stage. Penny Gay takes a fascinating look at the way Twelfth Night, The Taming of the Shrew, Much Ado About Nothing, As You Like It and Measure for Measure have been staged over the last half a century, when perceptions of gender roles have undergone massive changes. She also interrogates, rigorously but thoughtfully, the relationship between a male theatrical establishment and a burgeoning feminist approach to performance. As illuminating for practitioners as it will be enjoyable and useful for students, As She Likes It will be critical reading for anyone interested in women's experience of theatre.

As She Likes It is the first attempt to tackle head on the enduring question of how to perform those unruly women at the centre of Shakespeare's comedies. Unique amongst both Shakespearian and feminist studies, As She Likes It asks how gender politics affects the production to the comedies, and how gender is represented, both in the text and on the stage. Penny Gay takes a fascinating look at the way Twelfth Night, The Taming of the Shrew, Much Ado About Nothing, As You Like It and Measure for Measure have been staged over the last half a century, when perceptions of gender roles have undergone massive changes. She also interrogates, rigorously but thoughtfully, the relationship between a male theatrical establishment and a burgeoning feminist approach to performance. As illuminating for practitioners as it will be enjoyable and useful for students, As She Likes It will be critical reading for anyone interested in women's experience of theatre.

CEO-in-training, heiress and cosmetics company marvel Isabel Alfonso needs to hire an assistant. She needs to hire someone who is smart and competent to arrange a trip to Shanghai for her to meet with potential business partners. She needs to learn how to let go of her cosmetics company, her baby, in order to take on the CEO role which she’s been groomed for her entire life. What she does not need to hire is a young single dad, last seen with her in bed as a one night stand. Falling for Adam Sevilla is a complication that Isabel doesn’t need. And with so much on the line, she can’t afford to make any mistakes. Can she really leave everything behind, just to head the family business? Or will she hold on to what she has with zero guarantees?

CEO-in-training, heiress and cosmetics company marvel Isabel Alfonso needs to hire an assistant. She needs to hire someone who is smart and competent to arrange a trip to Shanghai for her to meet with potential business partners. She needs to learn how to let go of her cosmetics company, her baby, in order to take on the CEO role which she's been groomed for her entire life. What she does not need to hire is a young single dad, last seen with her in bed as a one night stand. Falling for Adam Sevilla is a complication that Isabel doesn't need. And with so much on the line, she can't afford to make any mistakes. Can she really leave everything behind, just to head the family business? Or will she hold on to what she has with zero guarantees?

“Much like Donna Tartt’s The Secret History, M. L. Rio’s sparkling debut is a richly layered story of love, friendship, and obsession...will keep you riveted through its final, electrifying moments.” —Cynthia D’Aprix Sweeney, New York Times bestselling author of The Nest "Nerdily (and winningly) in love with Shakespeare...Readable, smart.” —New York Times Book Review On the day Oliver Marks is released from jail, the man who put him there is waiting at the door. Detective Colborne wants to know the truth, and after ten years, Oliver is finally ready to tell it. A decade ago: Oliver is one of seven young Shakespearean actors at Dellecher Classical Conservatory, a place of keen ambition and fierce competition. In this secluded world of firelight and leather-bound books, Oliver and his friends play the same roles onstage and off: hero, villain, tyrant, temptress, ingénue, extras. But in their fourth and final year, good-natured rivalries turn ugly, and on opening night real violence invades the students’ world of make-believe. In the morning, the fourth-years find themselves facing their very own tragedy, and their greatest acting challenge yet: convincing the police, each other, and themselves that they are innocent. If We Were Villains was named one of Bustle's Best Thriller Novels of the Year, and Mystery Scene says, "A well-written and gripping ode to the stage...A fascinating, unorthodox take on rivalry, friendship, and truth."