{'fraction_non_alphanumeric': 0.03090507726269316, 'fraction_numerical': 0.005518763796909493, 'mean_word_length': 5.976923076923077, 'pattern_counts': {'":': 0, '<': 0, '<?xml version=': 0, '>': 0, 'https://': 0, 'lorem ipsum': 0, 'www.': 0, 'xml': 0}, 'pii_count': 0, 'substrings_counts': 0, 'word_list_counts': {'cursed_substrings.json': 0, 'profanity_word_list.json': 0, 'sexual_word_list.json': 0, 'zh_pornsignals.json': 0}}
Placing Michael Neill: Issues of Place in Shakespeare and Early Modern Culture ed. by Jonathan Gil Harris (review)

emotional nuances of the characters’ dramatic journeys, above all Juliet’s (such as Olivia Hussey’s performance in Zeffirelli’s film). Recognition that Shakespeare was working within a long tradition of rewriting when he adapted Brooke (and perhaps reworked Q1) shapes Weis’s necessarily brisk but illuminating account of the play’s landmark performances. Ignoring conventional boundaries, he seamlessly interweaves revealing discussions of major adaptations of Romeo and Juliet by Berlioz, Gounod, Prokofiev, and Bernstein and Sondheim. A concluding discussion of Tim Carroll’s experimental Old Pronunciation production at Shakespeare’s Globe in 2004 caps his edition’s well-told story of Romeo and Juliet’s vital modern dialogue between mainstream interpretation and creative reinvention.