If I had been more familiar with the landscape of Shakespeare studies twenty-five years ago, I might not have looked at Shakespeare at the Globe because Beckerman was well known as a practitioner of performance criticism. He had come to the academic side in the early 1960s from a fifteen-year stint as theater director at Hofstra College (1950-65) where he directed fifteen plays by Shakespeare, thirteen of which were “on the J. C. Adams full-scale model of the Globe” (according to Marvin and Ruth Thompson in the 1989 festschrift for Beckerman, Shakespeare and the Sense of Performance [p. 20]).