I recently completed my doctoral dissertation at the O’Donoghue Centre for Drama, Theatre and Performance at NUI Galway, where I also teach. My dissertation, ‘Shakespeare, Gender, and Contemporary Ireland: Performing and Recreating National Identities’ (fully funded by the Irish Research Council), looks at contemporary Shakespeare performance by Irish practitioners inside and outside of Ireland, exploring their engagement with gender, queerness, and feminisms, and exploring this in tandem with its contested relationship with issues of Irish national identity. Case studies include Druid Theatre’s Henriad adaptation DruidShakespeare (2015), Shakespeare’s Globe’s production of The Taming of the Shrew (2016), the Abbey Theatre’s production of Twelfh Night (2014), and the Almeida/Harold Pinter Theatre production of Hamlet (2017).

My research interests include: early modern performance studies; Shakespeare and Ireland; theatre and celebrity culture; theatre history and historiography; audience and reception studies; contemporary Irish and British performance; and queer and feminist theory and performance. I am currently writing and developing articles and book chapters on the following: the Globe Shrew and commemorative culture; the terminology of early modern performance studies; Irish accents and Shakespeare performance; celebrity Hamlets and modes of masculinities.

From 2015-2018, I served on the steering committee of the Society for Theatre Research’s New Researchers’ Network. I also co-hosted the podcast Feminist Theatre Squadron, and have contributed my work to Women Are BoringShakespeare in Ireland, and Reviewing Shakespeare.

I also teach undergraduates in Drama and Theatre Studies at NUI Galway and at the School of English, Drama and Film at University College Dublin, and have also taught in the Discipline of English at NUIG. I specialise in and have taught classes on theatre histories and historiographies; the history and practice of performing Shakespeare; film and Shakespeare; revenge tragedies; approaches to staging classical text; modern Irish theatre; and comedy in performance. (And, of course, I am always open to specialising in other areas too.)


2014-2018: PhD candidate and IRC Government of Ireland Postgraduate Scholar, NUI Galway. Passed without corrections.

2012-2013: MA in Shakespeare and Theatre with Distinction, The Shakespeare Institute, University of Birmingham.

2008-2012: Double First Class Honours in English and History with Theatre and Performance, NUI Galway.


Book Chapters (*= invited)
*Emer McHugh, ‘Numbered in the song: The Taming of the Shrew in the Irish feminist imagination’, in The Taming of the Shrew: The State of Play, ed. by Heather C. Easterling and Jenny Flaherty (London: Bloomsbury/The Arden Shakespeare, proposal in preparation).
*Emer McHugh, ‘Hamlet’s Networks: Celebrity, Genre, and Platform’, in ‘Variable Objects’: Shakespeare’s Dispossessed Agency, ed. by Louise Geddes and Valerie Fazel (Edinburgh: Edinburgh UP, proposal in preparation).
*Emer McHugh, ‘Ish a villain and a knave and a rascal: speaking Shakespeare in an Irish accent’, in Shakespeare and Accentism, ed. by Adele Lee (London and New York: Routledge, manuscript in preparation).
*Emer McHugh, ‘A shared language: placing and displacing Shakespeare in the Irish national theatrical repertoire’, in ­Negotiating Ireland’s Theatre Archive: Theory, Practice, Performance, ed. by Barry Houlihan (Oxford: Peter Lang, 2019), pp. 123-40.

Book Reviews and Essays
Emer McHugh, Shakespeare in the Theatre: Trevor Nunn (Russell Jackson), Peter Sellars (Ayanna Thompson), Patrice Chereau (Dominique Goy-Blanquet), and the National Theatre, 1963-75 (Robert Shaughnessy), Shakespeare Quarterly (forthcoming).
Emer McHugh, Queer Shakespeare: Gender and Sexuality, ed. by Goran Stanivukovic, Early Theatre 22.1 (2019), pp. 223-6.
Emer McHugh, The Routledge Companion to Dramaturgy, ed. by Magda Romanska, Platform 10.6 (2016), pp. 102-4.

Performance Reviews and Essays
Emer McHugh, Hamlet at the Gate Theatre, Dublin, Shakespeare Bulletin 37.1 (2019), pp. 138-41.
Emer McHugh, The Rehearsal, Playing the Dane at the Abbey Theatre, Shakespeare Bulletin 36.4 (2019), pp. 731-4.
Emer McHugh, Dancing at Lughnasa at the Gaiety Theatre and Oedipus at the Abbey Theatre, Canadian Journal of Irish Studies (forthcoming).
Emer McHugh, ‘Almeida Theatre’s Hamlet’, Early Modern Culture 13 (2018), pp. 252-4.
Emer McHugh, Othello at the National Theatre, The Shakespeare Institute Review 3 (2017), pp. 5-7.
Emer McHugh, The Taming of the Shrew at Shakespeare’s Globe Theatre, Shakespeare in Ireland. <https://shakespeareinireland.wordpress.com/2016/08/26/review-taming-of-the-shrew-shakespeares-globe-2/&gt;.
Emer McHugh, A Midsummer Night’s Dream at the Abbey Theatre, Reviewing Shakespeare. <http://bloggingshakespeare.com/reviewing-shakespeare/midsummer-nights-dream-abbey-theatre-dublin-ireland-2015/&gt;.
Emer McHugh, Twelfth Night at the Abbey Theatre, Reviewing Shakespeare. <http://bloggingshakespeare.com/reviewing-shakespeare/twelfth-night-abbey-theatre-dublin-ireland-2014/&gt;.

Upcoming Talks and Conferences

‘“actions a man might play”: Andrew Scott, Ruth Negga, and two Irish Hamlets’, ‘Shakespeare and the Celtic Nations’ at British Shakespeare Association annual meeting 2019. Swansea, July 2019.


Irish Renaissance Seminar, 2014-present
European Shakespeare Research Association, 2014-present
British Shakespeare Association, 2014-present
International Shakespeare Association, 2014-present
The Society for Theatre Research, 2015-present
The STR New Researchers’ Network, 2015-present
Shakespeare Association of America, 2015-present
International Federation for Theatre Research, 2017-present

Emer McHugh

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