Senior Associate Tutor
Theatre and Performance Studies
School of Creative Arts, Performance and Visual
Faculty of Arts Building | University of Warwick |
University Road | Coventry | CV4 7AL
Dr Ronan Hatfull joined Theatre and Performance Studies in 2020. He is a scholar of Shakespeare, adaptation and performance. He received his doctorate in 2019 from Warwick, having completed the first investigation into the history and legacy of the Reduced Shakespeare Company. Ronan has also also the SCAPVC Events Co-Ordinator and an Events and Festival Assistant for the department.
Ronan also teaches as an Associate Tutor in English and Comparative Literary Studies at Warwick, teaching on Epic to Novel,Link opens in a new window European Theatre Link opens in a new windowand Remaking ShakespeareLink opens in a new window. He has published widely on Shakespeare’s legacy on page, stage and screen, including the Bridge Theatre production of A Midsummer Night’s Dream, the films All Is True and Bill, the Marvel Cinematic Universe, the television series Doctor Who, Game of Thrones and Upstart Crow, and the novelist Cormac McCarthy.
Ronan is the Artistic Director of theatre company Partners RaptLink opens in a new window, formed the lockdown performance collective Partners Rapt Read Plays, and has written for Shakespeare BulletinLink opens in a new window, Reviewing ShakespeareLink opens in a new window and Action is eloquence: (Re)thinking ShakespeareLink opens in a new window. He is currently working on two monographs, one based on his doctoral thesis and the other in collaboration with pedagogic hip-hop artist The Sonnet Man: Shakespeare and Hip-Hop: Adaptation, Citation, Education. Ronan will be co-leading seminars and roundtables at three international conferences next year on biographical fiction, fracking Shakespeare and roughhouse Shakespeare.
- Adaptation studies
- Biographical fiction
- Contemporary British Theatre
- Reduction and abridgement
- Shakespeare and popular culture
- Shakespeare in performance
- Acting in Character (2020-21)
- British Theatre Since 1939 (also Module Convener) (2019-20)
- Contemporary Performance Practices (2021-22)
- European Theatre (2020-22)
- From Text to Performance (2020-21)
- Remaking Shakespeare (2016-20)
- Theatre and Performance in Context (2021-22)
- You, The Performer: presence and affect (2020-21)
- Your Theatre and Performance Toolkit (2021-22)
- Hatfull, Ronan, Shakespeare in the Theatre: The Reduced Shakespeare Company, London: Bloomsbury Arden Shakespeare.
- Glover, Devon and Ronan Hatfull (2023), Shakespeare and Hip-Hop: Adaptation, Citation, Education, Cambridge: Cambridge University Press.
- Hatfull, Ronan and Edel Semple (ed) (2024), Shakespeare and Biofiction on the Contemporary Stage and Screen, London: Bloomsbury Arden Shakespeare.
- Hatfull, Ronan (2021), Teaching Shakespeare 21: Teaching Shakespeare in Lockdown, British Shakespeare Association.
- Hatfull, Ronan (2022), ‘“The Counterfeit Presentment”: Resisting and Rehabilitating Shakespeare in Fakespeare’, in Kavita Mudan Finn and Johnathan Pope (ed), Shakespeare and Anti-Fandom: Moving Forward, London: Bloomsbury Arden Shakespeare.
- Hatfull, Ronan (2022), Entries on David Tennant, Edinburgh Fringe Festival, House of Cards, Oldboy, Parasite, Shakespeare Live! From The RSC (2016), Stoker, the Marvel Cinematic Universe and The Show Must Go Online in, The Palgrave Encyclopaedia of Global Shakespeare, in Alexa Alice Joubin (ed), The Palgrave Encyclopedia of Global Shakespeare, Palgrave Macmillan.
- Hatfull, Ronan (2020), ‘Reduced Shakespeare Company’ in, Alexa Alice Joubin (ed), The Palgrave Encyclopedia of Global Shakespeare, Palgrave Macmillan.
- Hatfull, Ronan (2020), ‘Bill Begins: The Rise of the Contemporary Shakespeare “Origin Story”’ in, (ed) Marina Gerzić and Aidan Norrie, Irreverence and Play in Shakespearean Adaptation, 160-177, New York and London: Routledge, 2020)
- Hatfull, Ronan (2020), ‘“Keeping the Dream Alive’: Nicholas Hytner’s A Midsummer Night’s Dream (2019)’ in, Nicolas Tredell (ed), Critical Insights into A Midsummer Night’s Dream, 208-224, New York: Grey House Publishing.
- Hatfull, Ronan (2022), ‘“My dearest partner of greatness”: The legacy of the Macbeths’ relationship in House of Cards and Vice’, Coup de théâtre.
- Hatfull, Ronan (2021), ‘Adapting The Merchant of Venice for Radio: An Interview with Emma Harding, adapter and director for BBC Radio Drama’, Shakespeare 17 (4): 507-521.
- Hatfull, Ronan (2020), ‘“That’s One of Mine”: The Upstart Cannibal in Shakespearean Biofiction’, Exchanges: The Interdisciplinary Research Journal 7 (3): 45-64.
- Hatfull, Ronan (2019), ‘“Shakespeare in the Park?”: William Shakespeare and the Marvel Cinematic Universe’, Foundation, 48 (4): 45-57.
- Hatfull, Ronan (2017), ‘“Some Scurrilous King”: Judge Holden and the Spectre of Shakespeare’s Monarchs in Blood Meridian’, Postgraduate English 35: 1–27.
- Hatfull, Ronan (2016), ‘“Excess of It”: William Shakespeare’s Long Lost First Play (abridged) at the Edinburgh Festival Fringe 2016’, Exchanges: The Interdisciplinary Research Journal 4 (1): 61–67.
- Hatfull, Ronan (2021), ‘The Complete Deaths: Review’, Shakespeare Bulletin 39 (1): 175-179.
- Hatfull, Ronan (2021), ‘Play Review: Romeo and Juliet by Simon Godwin’, Cahiers Élisabéthains 106 (1): 98-102.
- Hatfull, Ronan (2021), ‘All is True by Kenneth Branagh (review)’, Shakespeare Bulletin 38 (1): 117-121.
- Hatfull, Ronan (2019), ‘Upstart Crow Season Three’, Shakespeare Bulletin 37 (2): 300-303.
- Hatfull, Ronan (2018), ‘Macbeth @ The National Theatre, dir. Rufus Norris, 2018’, Reviewing Shakespeare.
- Hatfull, Ronan (2016), ‘King Lear at the Old Vic, dir. Deborah Warner, 2016’ in Reviewing Shakespeare.
Selected Online Publications
- “I’m Jay-Z on a bad day, Shakespeare on my worst days”: When rappers cite ShakespeareLink opens in a new window in Shakespeare & Beyond (Folger Shakespeare Library (2021)
- ‘An Interview with Rob Myles of The Show Must Go Online’ in ‘Action is eloquence’: (Re)thinking Shakespeare (2020).
- “‘I’ll Teach You How To Flow”: The Hip-Hop Shakespeare Pedagogy of the Sonnet Man’ in ‘Action is eloquence’: (Re)thinking Shakespeare (2020).
- ‘“Let the Devil Wear Black”: Shakespeare’s Bio-fictional Presence in Good Omens’ in ‘Action is eloquence’: (Re)thinking Shakespeare (2020).
- ‘“Finally You Put Me First”: Love on Top in NT Live: A Midsummer Night’s Dream @ The Bridge Theatre in ‘Action is eloquence’: (Re)thinking Shakespeare (2020).
- ‘Why Judge Holden is one of literature’s greatest villains’ in Research English at Durham (2018).
- Associate Fellow of Advance HE (AFHEA)
- Member of the Association of Adaptation Studies (AAS).
- Member of the British Shakespeare Association (BSA).
- Member of the European Research Shakespeare Association (ESRA).
- Member of the Shakespeare Association of America (SAA).
- PhD: English and Comparative Literary Studies (University of Warwick)
- MA: Shakespeare and Creativity (The Shakespeare Institute, University of Birmingham)
- BA: English and Theatre Studies (University of Warwick)
Practice and Outreach
- 2021: Director of the Living Theatre Peace Camp to mark the twentieth anniversary of the Greenham Women's Peace Camp.
- 2020-21: Guest Speaker on the Reduced Shakespeare Company podcast episodes: Episode 748: Analyzing Shakespearean Biofiction and Episode 749: More Shakespearean Biofiction, where I discussed the running of a seminar on Shakespearean biofiction at SAA 2021 with my co-seminar leader Dr Edel Semple.
- 2020-present: Co-Founder/Artistic Director of Partners Rapt Read Plays, a theatre collective which participates in weekly play readings of plays by Shakespeare and his contemporaries on Zoom. I established this initiative in response to the Covid-19 lockdown in order to provide professional and amateur theatre-makers and performers with creative opportunities. I am responsible for conceptual design and dramaturgy. The performances have included international participation from France, Italy, UK and USA.
- 2019-20: Workshop Leader for Transformations.
- 2019-20: Co-Founder/Writer at ‘Action is eloquence’: (Re)thinking Shakespeare in October 2019, a blog which focuses on Shakespeare in adaptation and performance and is listed in the World Shakespeare Bibliography, receiving considerable exposure since its launch.
- 2018-19: Co-Designer and Writer for Walk You Will, an interdisciplinary, charity project and exhibition with the photographer, David Hatfull, in collaboration with Dr Paul Edmondson and Professor Sir Stanley Wells.
- 2018-19: Guest Speaker on the Reduced Shakespeare Company podcast: Episode 627: Doctor of Reduction, where I discussed the completion of my PhD.
- 2017-18: Guest Speaker on the Reduced Shakespeare Company podcast: Episode 505: Retracing Shakespeare’s Steps, where I discussed Walk You Will.
- 2016-17: Guest Speaker on the Reduced Shakespeare Company podcast: Episode 488: Studying Reduced Shakespeare, where I discussed by PhD research into the company with Managing Partner Austin Tichenor.
- 2016-present: Writer for The 730 Review, an online arts publication for which I have contributed theatre, film and music reviews, opinion pieces and interviews.
- I am the Artistic Director and a founding member of Partners Rapt, an emerging theatre company which specialises in the reinterpretation of Shakespeare and his contemporaries.
- My directing credits at Warwick include Much Ado About Nothing, King Lear, The Tempest and Twelfth Night, as well as several new writing projects, including my first play, Not You Will, which was awarded a grant from Warwick's Institute of Advanced Teaching and Learning, enabling me to film the project with a professional actor.
- At the Shakespeare Institute, I continued to pursue my interest in new writing, including collaborating on Shakespeare Unbard (staged at the RSC in 2013); working as Co-Head Writer on Running Brook; and writing Partners Rapt, which explores Shakespeare’s power couples and their role within popular culture.
- Partners Rapt was staged in January 2015 at Warwick, funded by the University’s new writing and Shakespeare societies. An extract was published in Inspired by Shakespeare in April 2016, a new book celebration the 400th anniversary of Shakespeare's death.
- I received a £1000 grant from IATL in 2015 to pursue research into staging dystopia through the work of William Shakespeare, Samuel Beckett and Cormac McCarthy, culminating in a collaborative performance during June 2015 entitled This Blasted Heath.
- I served as adapter, dramaturg and composer on Julius Caesar, a production rehearsed throughout the 2016 U.S. Presidential Election and performed a week after Donald Trump's election, exploring the resonance of Shakespeare's play with those political events.
- I next served as dramaturg for an immersive 2017 production of Macbeth, which explored the cold war and gated communities.
- In Summer 2017, I created two outdoor productions: Hell is Empty, a new play which imagines a purgatorial meeting between Iago, Cleopatra and Falstaff after their deaths, and a site-specific production of Twelfth Night.
- I have served as Actor/Composer/Musician in productions of The Comedy of Errors (2017), Much Ado About Nothing (2018) and As You Like It (2019) at the Royal Shakespeare Company's open-air Dell Festival.
- I was co-director, dramaturg and adapter the Partners Rapt production of Henry IV Part 1 (renamed Henry the Thorth) at the Royal Shakespeare Company's Dell Festival in Stratford-upon-Avon. I also played Prince Hal and worked as a musician in the production.
Performance and Research Footage
Term 1: Thursday 10am-12pm (FAB6.06)
Please e-mail me to make an appointment.
Teaching in 2022/23
Theatre and Performance Studies
TH115 From Text to Performance
TH256 Adapting Shakespeare for Performance
TH342 Practice-based Research Project
English and Comparative Literary Studies
EN101 Epic to Novel
EN302 European Theatre
EN381 Remaking Shakespeare
Presenting research at the Shakespeare Institute (2016).
Performing at the RSC (2013).