Eoin is a Lecturer in English Literature specializing in early modern drama. He takes a broad interest in the subject but most of his research focuses on theatre history, playbook publication, and the politics of the canon. He is the author of ‘Public’ and ‘Private’ Playhouses in Renaissance England (Palgrave, 2015) and is currently co-editing English Renaissance Drama and the Politics of Domesticity for Manchester University Press. His plans for future work include another co-edited collection, Reprints and Revivals of Renaissance Drama, which emerges out of a Shakespeare Association of America seminar he co-organized in New Orleans in 2016. In 2017 he received Texas Collaborative Grant funding to work on this project at Texas A&M. He is also planning a revisionist account of Jacobean drama which challenges the entrenched association of Jacobean theatre and lurid violence, as well as several chapters and articles on topics such as boy company drama of the 1570s and 1580s, and the dangers of contextual reading in theatre history research.

Eoin is a Fellow of the Higher Education Academy. He enjoys teaching across all levels of the undergraduate degree course and at postgraduate level. He convenes the first-year drama module The Stage Play World, the second-year module Contentious Shakespeare, and the third-year module Comedy in Renaissance England. At MA level, he offers a module on the stage and screen afterlife of Shakespeare’s Macbeth. Eoin also supervises PhD students. He welcomes approaches from prospective PhD students interested in any of his research specialisms.

Eoin is the assistant Admissions Officer for the Department of English Literature and Creative Writing. He welcomes inquiries from prospective undergraduate students. He is also the Welsh Representative for the Society for Renaissance Studies, and sits on the Society’s council. Additionally, he serves as the theatre reviews editor for the Marlowe Society of America Newsletter. He is the lead organizer of the 2019 British Shakespeare Association annual conference, which Swansea University will host.

Eoin will be on research leave in TB2 of 2017/18.

Areas of Expertise

  • Renaissance drama
  • Jacobean drama
  • Shakespeare
  • Theatre history
  • Book history


  1. 'The Future Francis Beaumont'. Early Theatre 20
  2. 'Public' and 'Private' Playhouses in Renaissance England: The Politics of Publication. Basingstoke: Palgrave.
  3. 'The Politics of Privacy and the Renaissance Public Stage'. Literature Compass 12(7), 311-321.
  4. Teaching and Learning Guide for: ‘The Politics of Privacy and the Renaissance Public Stage’. Literature Compass 12(9), 497-498.
  5. 'The Cockpit or Phoenix Playhouse'.


  • EN-114 Voices of Poetry

    'Voices of Poetry' is an engaging and exciting module which aims to introduce students to poetry and the various voices it articulates. Taught by well-known poets as well as scholars of poetry, this course will introduce students to a wide range of poetic forms and literary periods, ranging from the medieval lyric to postmodern poetry, from Shakespeare to Sylvia Plath. Particular attention will be paid to the interrelationship between meaning and form, and how rhetorical figures, metre, rhythm, tone, register and the speaker's voice create meaning. 'Voices of Poetry' will also foster an appreciation of how poetic forms are re-written in the socio-historical context in which they were produced.

  • EN-242 Contentious Shakespeare

    Shakespeare¿s plays were designed to be performed but they survive only because they were printed. To appreciate Shakespeare we must consider the implications of text and performance. In this module students will explore five famous Shakespeare plays ¿ The Taming of the Shrew, Richard III, As You Like It, Hamlet, and The Tempest. Lectures and seminars will offer a variety of approaches to Shakespeare on page, stage, and screen. Students will focus on both local detail ¿ puns, performance choices ¿ and wider questions: is The Taming of the Shrew misogynistic? Is Shakespeare racist? Regular film screenings will allow students to see performances of all of the plays.

  • EN-3036 'Love, and a bit with a dog': Comedy in Renaissance England

    In Tom Stoppard¿s screenplay for Shakespeare in Love, Shakespeare¿s early comedy, The Two Gentlemen of Verona, is performed before the Queen. When the actor playing Launce is attacked by his unruly dog, Crab, the audience, hitherto unamused, break into laughter. Turning to a nonplussed Shakespeare, the theatre entrepreneur Philip Henslowe snorts, `You see¿comedy¿love, and a bit with a dog, that¿s what they want¿. This module will take the question ¿ what is comedy? ¿ seriously. Often, comedies are patronized when compared with tragedies, but comedies contain in them matters of importance, opening up questions of gender, politics, religion and morality. This module will encourage students to challenge preconceived ideas about comedies and to confront, head on, thorny critical issues, such as whether comedies ought to be funny, or whether they ought to end happily. Students will be asked to consider what it means to call a play a comedy; in doing so, they will explore some of the most audacious, inventive and controversial plays of the English Renaissance.

  • EN-M79 After Macbeth: Stage and Screen Adaptation

    This module begins in the seventeenth century and ends in the present day as it traces the stage and screen afterlife of Shakespeare¿s Scottish play. By turns familiar and strange, Macbeth is one of Shakespeare's most commonly performed plays yet it takes a horrible delight in the weird and the supernatural. Accordingly, the module invites students to consider the enduring strangeness of Macbeth as it has captured the imagination of writers, actors, and directors, in a variety of cultures and contexts, across the last four centuries. Whether revisiting the events of Shakespeare¿s play or continuing the narrative beyond the expected endpoint, the plays and films discussed in this module bear the marks of Shakespeare¿s Macbeth. Yet Shakespeare¿s Macbeth also bears the marks of Thomas Middleton, since it exists to us only in an adapted form. The study of adaptation is therefore necessary to the study of Macbeth as it offers continued ways of rethinking our most fundamental assumptions about Shakespeare and his place in contemporary culture.

  • EN-M80 Practising Ideas: Advanced Research Skills in English / Contemporary Writing / Welsh Writing in English