English Literature & Creative Writing
Telephone: (01792) 295780
Room: Office - 214
Second Floor
Keir Hardie Building
Singleton Campus

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. 'Public' and 'Private' Playhouses in Renaissance England: The Politics of Publication. Basingstoke: Palgrave.
  2. 'The Politics of Privacy and the Renaissance Public Stage'. Literature Compass 12(7), 311-321.
  3. The Future Francis Beaumont. Early Theatre 20(2)
  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 poets as well as critics and scholars of poetry, this course begins by defining the lyric poem and then exploring the basic structures and devices which make it work ¿ metre, rhyme, rhetorical figures, rhythm, metaphor and so on. Having done this, the course moves on to the relationship between meaning, form and voice, introducing students to a variety of poems ranging from the anonymous medieval lyric to postmodern US poetry, from Shakespeare to Sylvia Plath. Attention is paid at all times to the way poets create the effect of a `voice¿, and to poems¿ socio-historical contexts. The main aim of the course is to give students the confidence, enthusiasm and expertise to engage in independent close reading, analysis and critical assessment.

  • EN-242 Contentious Shakespeare

    Shakespeare is often figured as a universal writer who tells us something essential about the human condition; he has been imagined as both a national poet and the world¿s dramatist. But can Shakespeare really be universal? This module invites students to rethink many of the standard assumptions about Shakespeare. The writer Ben Jonson described as the `sweet swan of Avon¿ was also responsible for plays of horrifying violence and his drama reflects, in unsettling ways, on issues of gender, race, and class. Students will explore five controversial Shakespeare plays: The Taming of the Shrew, Titus Andronicus, The Merchant of Venice, Othello, and The Tempest. Lectures and seminars introduce the plays in their disturbing complexity: Shakespeare emerges as a deeply equivocal presence in literary and theatrical history. Taking into account the important work of feminist and postcolonial criticism, this module addresses both the radical potential and the frequently conservative application of Shakespeare¿s 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



  • Women, Empowerment and the Natural World in Medieval Literature 1200-1500.«br /»«br /» (current)

    Student name:
    Other supervisor: Dr Roberta Magnani
    Other supervisor: Dr Eoin Price
    Other supervisor: Prof Liz Herbert Mcavoy