by Sara Marie Westh, PhD student and Library Assistant
As a long-time student at the Shakespeare Institute – it is over six years now, altogether, can you believe it, time flies, doesn’t it just? – it is almost scarily easy to forget that there is a world beyond our wee bastion.
Friends go off to Warwick, to Leeds, to Newcastle, to London. They scatter themselves across England, the UK, the world, posting photos of sunshine and snow on Facebook, along with comments about food and homesickness. And sitting in Stratford-upon-Avon, all the places seem eerily alike. All of them are far away.
When friends leave the Institute, they go to the Great World Beyond, where rare, magical creatures such as Career and Funding roam the lush plains, and where the frontier is the horizon, not the train station. And this month we at the Institute Library use our exhibition to celebrate those intrepid explorers who boldly went beyond the edge of town, and filled my feed and our exhibition with far-away dreams.
There is Professor Christian van Nieuwerburgh, an erstwhile member of the exclusive club of UOB students who have also borne the honour of working for the Institute Library. Discovering an interest in professional development and the role of coaching in education, he joined the University of East London in 2009, where he was made a Professor of Coaching and Positive Psychology, having taught positive psychology in Cambridge and in Paris.
His publications have seen immense popularity in the field, with his Introduction to Coaching Skills: A Practical Guide running into its second edition last year, and Coaching in Islamic Culture, co-written with Raja’a Allaho breaking new ground. Unfortunately, this bold scholar will look toward the farther world in the new year, for, as he writes: “Given some of the political uncertainty surrounding the UK’s decision to leave the European Union, I will be leaving University of East London in November and will be focusing more time and attention to my international work in Australia, the Middle East and the US”.
Reflecting on his time at the Institute, Professor van Nieuwerburgh remarks “I’m very appreciative of my time at the Shakespeare Institute, the friendship of fellow students and the expert guidance and supervision of the academic team, particularly Dr Martin Wiggins. Studying Elizabethan and Jacobean drama with some of the world’s experts has had an enormous impact on my personal and professional life. I’ve maintained my interest and curiosity about what motivates human beings. Without my time at the Shakespeare Institute, I wouldn’t be doing what I’m doing now. It was a challenging and life-shaping time”.
A no less intrepid scholar is Dr José A. Pérez Díez, who likewise did service to this Library in concert with his studies. To Dr Pérez, England was “a country towards which I had always felt a huge emotional attachment”. On impulse, he joined the Shakespeare Institute Players, and was cast in the eponymous role of Othello, beginning his illustrious career on our stage. Dr Peréz received an offer to read for his PhD in 2010, “under the wise supervision of Dr Martin Wiggins”.
Dr Pérez’ fondly recalls his six years at the Institute: “During those years I made lifelong friendships with people from all around the globe—from Japan to California, from Denmark to Australia—and finally got to marry the love of my life, Irma. I worked weekends and evenings as a library support assistant in the astonishing SI Library—the best Renaissance-focused research library in Europe—and taught in the Birthplace and on main campus for years. I also founded, with Will Sharpe, the Lizz Ketterer Trust in memory of a much-missed alumna, Dr Elizabeth Ann Ketterer, as well as the theatre company Ketterer’s Men, the Players’ unofficial ‘sister’. Towards the end of the PhD, while I was frantically writing up my critical edition of Fletcher and Massinger’s Love’s Cure (soon to be published in the Revels Plays), Irma gave birth to our firstborn, David, a Warwickshire lad begot some three hundred yards away from the Birthplace itself”.
Dr Pérez viva enabled him “to take up, literally within weeks, a five-year research fellowship at the University of Leeds”. Looking back, “nine years, four houses, two Birmingham graduations, multiple jobs, some twenty theatre productions, a wedding, and two children later (Daniel was born in 2018),” he still considers the Institute his home, “And not a single day goes by without my missing the seminars, the playreadings, the Library, the theatre-making, the laughter, the building, and, above all, the wonderful people that inhabit it”.
The gallant Dr Lise Olsen likewise holds her time at the Institute close to her heart, she “relishes the time spent at the Institute and often calls upon it in her work.” Currently, Dr Olsen is the Course Director of MA in Acting at the Royal Birmingham Conservatoire. An American ex-pat, she has been working professionally in the UK for over 25 years, and spent a year in the PhD programme at the Institute, researching “20th Century Vocal performance of Shakespeare, beginning with the actor Henry Ainlie (early 1900’s)”
Dr Olsen is an acknowledged international specialist in the areas of Vocal Violence and Acting Through Song, and has given perennially popular musical theatre workshops at International Stephen Sondheim conferences, and Song Stage and Screen conferences. She has also received a number of directing awards in both the US and UK, and was a founding director of Seattle’s first small specialist musical theatre company.
Dr Olsen presented at ‘Women in Parliament’ in celebration of the Representation of People Act earlier this year, and her upcoming chapter ‘VOX FEMINA PUBLICA’ in Amending Speech: Women’s Voices in Parliament, 1918-2018, due to be published later this year, is eagerly anticipated. She is currently directing the Croatian family drama 3 Winters, which will opened at the Old Rep Theatre on October 10th.
Dr Susan Kay-Williams, Chief Executive Royal School of Needlework, and equally fearless of the Stratford frontier, was first put on the track to Shakespeare studies by her MA tutor at University College Cardiff. Wanting to explore less thoroughly mapped areas of the works, and inspired by the mid-1970’s production of the Henry VI plays in Stratford, she settled on their stage history.
During Dr Kay-Williams’ time at the Institute it was located in Birmingham, “with research students in the attic rooms”, but she undertook a significant part of her research in Stratford, enduring the traditional pilgrimage that is getting here. She embarked on postdoctoral studies in charity fundraising and marketing, first at United World Colleges, and subsequently at the British Lung Foundation. Finishing her PhD, Dr Kay-Williams was made a Fellow of the Chartered Institute of Marketing, and CE of the Henry Doubleday Research Association.
Harbouring a long-standing interest in textiles, she then joined Royal School of Needlework, and has been with them for the past 11 years. There, “We have worked on the wedding dress of the Duchess of Cambridge, a dress for the Oscars for Naomi Harris, Millennium Vestments for Buckfast Abbey, pop art nudes for Philip Colbert and above all taught many people how to create wonderful pieces of art or embellishment for clothes or costumes and ensured we keep the art of hand embroidery alive. We have also taught our first ever summer School in the US, introduced Stitch A Selfie, a project for schools Today the RSN is a £2m+ charity with endowment funds in the bank.”
Dr Cathleen McKague, the final scholastic explorer extraordinaire of this blog, finished her PhD in 2014, supervised by Prof Ewan Fernie, exploring competing representations of androgyny in Renaissance literature.
Dr McKague took an active part in student life during her Institute time, taking part in seven productions with the Players, both on and behind stage. She was a frequent patron of the Thursday night play-readings, and was yet another magnificent soul who worked for the Institute Library.
Dr McKague was hired as an Adjunct Assistant Professor with the Department of English Language and Literature at Queen’s University in Kingston, Ontario after her graduation, and offered a Bader Postdoctoral Fellowship in 2016. This allowed her to research a play-text that she had discovered, owned by Canadian playwright, novelist, scholar, and director Robertson Davies. Following this exciting time, she became Visiting Scholar at Queen’s, and Eisenbichler Research Fellow for the Centre for Reformation and Renaissance Studies at Victoria University, University of Toronto.
Continuing to stand at the forefront of her field, Dr McKague’s recent publications include ‘Twelfth Night’s “poor monster”: Viola/Cesario as Holy Grotesque’, a chapter in Michael Heyes’s Holy Monsters, Sacred Grotesques: Monstrosity and Religion in Europe and the United States (2018); and the forthcoming ‘“Pedant Needs More Paunch”: Reviving Robertson Davies’s Annotations from his Performance Copy of The Taming of the Shrew’, with Theatre Research in Canada / Recherches Théâtrales au Canada (2018).
During their peregrinations through far-flung academic disciplines in the Great World Beyond, hunting illusive creatures of time, space, fabric, and text, our alumni turn their falcon gaze to the little, little town that holds the Institute. Somewhere along the way the Institute remains with them, even hidden all the way out here in Stratford upon Avon, at the mercy of Chiltern Railways and London Midlands. Somewhere out there, our alumni show us how to dream beyond borders.
The Where We Are Now exhibition is on now at the Shakespeare Institute Library. Do come.