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Daniel Hahn is a generous and winning guide. Traveling the world, he speaks to writers engaging with Shakespeare’s work and shares stories of his own. If This Be Magic does not require knowledge of any other language or more than a passing acquaintance with the Bard’s canon, but draws out surprising and fascinating insights on both. As nerdy as they come (there is an unapologetic chapter on commas) and often funny, this is a book for everyone and a fitting tribute to the Globe’s Bard.

A collection of BBC Radio 3's iconic Shakespeare productions: eight comedies with all-star casts including David Tennant, Helena Bonham Carter, Anne-Marie Duff, Martin Jarvis, Siân Phillips and Miriam Margolyes. The plays included in this collection are: Much Ado About Nothing, As You Like It, A Midsummer Night's Dream, The Merchant of Venice, Twelfth Night, The Tempest, The Taming of the Shrew, and All's Well That Ends Well.

Here is the full-cast production of Shakespeare's classic love story, fully dramatized from the complete text, and starring Michael Sheen as Romeo and Kate Beckinsale as Juliet.

Everyone knows something of Shakespeare's sonnets, even if only in memorable fragments like "the darling buds of May", or "remembrance of things past", or "the marriage of true minds". For centuries these wonderfully crafted, intense lyrics have stood for something valued about youth, love, and the emotional complexities belonging to that time of life. This new recording presents all 154 of Shakespeare's sonnets, using the New Cambridge Shakespeare texts.

Shylock, a Jewish moneylender, agrees to lend Antonio, a Venetian merchant, three thousand ducats so that his friend Bassanio can afford to court his love, Portia. However, Shylock has one condition: Should the loan go unpaid, he will be entitled to a pound of Antonio's own flesh. Meanwhile in Belmont, according to the terms of her father's will, Portia's many suitors must choose correctly from three caskets. Bassanio arrives at Portia's estate and they declare their love for one another before he picks the correct casket.

Hamlet, which dates from 1600-1601, is the first in Shakespeare's great series of four tragedies. In writing this extraordinary play, Shakespeare effectively re-invented tragedy after an interval of roughly 2,000 years - you would have to go back to the Greek dramatists of fifth century Athens to find anything of comparable depth and maturity. This production features the voice of Anton Lesser as Hamlet along with a full cast.

When Oberon, King of the Fairies, uses his magic upon four runaway lovers in a midsummer wood outside Athens, chaos ensues. Who really loves whom? Meanwhile, a band of well-meaning but bungling local actors have their rehearsal sabotaged by the mischievous Puck, who bewitches their leader, Bottom, and Titania, the Fairy Queen. The result is a lively and anarchic comedy that can only be resolved by an elaborate disentangling of spells.

Distressed by his father's death and his mother's over-hasty remarriage, Hamlet, Prince of Denmark, is faced by a specter from beyond the grave bearing a grim message of murder and revenge. The young prince is driven to the edge of madness by his struggle to understand the situation he finds himself in and to do his duty. Many others, including Hamlet's beloved, the innocent Ophelia, are swept up in his tragedy.

Twelfth Night, nowadays one of Shakespeare's best-loved and most-admired comedies, was not always so regarded: Samuel Pepys saw the play three times in the 1660s and judged it 'silly'. Modern audiences, critics, and directors seem better attuned to its delicate counter pointing of romance and realism....

Written in 1593, King Richard III is one of Shakespeare's earliest plays. This play differs from its predecessors, being amore structured piece, examining the development and motivations of a single character, Richard Duke of Gloucester, who will stop at nothing to gain control of the throne occupied by his brother Edward IV.

The Tragedy of Hamlet, Prince of Denmark, often shortened to Hamlet is a tragedy written by William Shakespeare sometime between 1599 and 1601. It is Shakespeare's longest play, with 29,551 words. Set in Denmark, the play depicts Prince Hamlet and his revenge against his uncle, Claudius, who has murdered Hamlet's father in order to seize his throne and marry Hamlet's mother. Hamlet is considered among the "most powerful and influential tragedies in the English language", with a story capable of "seemingly endless retelling and adaptation by others".

By the time Shakespeare came to write Macbeth - almost certainly in 1605/1606 - he had already completed three of the great tragedies with which modern audiences are so familiar: Hamlet (1601), Othello (1603), and King Lear (1605). Each of those plays gives us an eponymous hero who is in some significant way flawed, but for whom we also inevitably feel deep sympathy, whatever his errors or crimes. But in MacBeth, Shakespeare has chosen for his tragic hero a man guilty of the most terrible crime imaginable to a Jacobean audience, that of regicide - the murder of a king.

This widely studied play is one of the "best sellers" of the Shakespeare canon. This production is the sixth Shakespeare play in the series undertaken by Naxos AudioBooks in conjunction with Cambridge University Press.

King Leontes of Sicilia is seized by sudden and terrible jealousy of his wife Hermione, whom he accuses of adultery. He believes the child Hermione is bearing was fathered by his friend Polixenes, and when the baby girl is born he orders her to be taken to some wild place and left to die. Though Hermione's child escapes death, Leontes' cruelty has terrible consequences. Loss paves the way for reunion, and life and hope are born out of desolation and despair.

Julius Caesar is one of Shakespeare’s most compelling Roman plays. The plot against Caesar and the infamous assassination scene make for unforgettable listening. Brutus, the true protagonist of the play, is mesmerizing in his psychological state of anguish, forced to choose between the bonds of friendship and his desire for patriotic justice.

The tragedy of King Lear receives an outstanding performance in an all-star cast led by Britain’s senior classical actor, Paul Scofield. He is joined by Alec McCowen as Gloucester, Kenneth Branagh as The Fool, Harriet Walter as Gonerill, Sara Kestelman as Regan and Emilia Fox as Cordelia. This is the ninth recording of Shakespeare plays undertaken by Naxos AudioBooks in conjunction with Cambridge University Press, and is directed by John Tydeman. It was released to mark the 80th birthday of Paul Scofield in January 2002.

The Yorkists have been temporarily victorious and the Duke of York has assumed the throne, but the Lancastrians, led by Queen Margaret, counter-attack. As the fortunes of war shift, both the innocent and the guilty are swept up in the maelstrom. And increasingly dominant amid the chaos is the sinister figure of the crook-backed Richard, Duke of Gloucester.

In the world's most celebrated and lyrical love story, the sublime devotion of two young lovers transcends their earthly fate. The noble Veronese houses of Montague and Capulet are locked in a bitter feud. When Romeo (a Montague) and Juliet (a Capulet) fall in love, they are swept up in a series of violent events and cruel twists of fortune. Despite the passion and innocence of their love, they fall victim to the enmity between their families, and their story ends in tragedy.

King Lear is ready to turn his realm over to his three daughters. His plan is simple: Give the biggest piece to the daughter who loves him most. But honeyed words and hubris blind Lear to the true motives of those around him, plunging king and kingdom into a hell of treachery, madness, and unspeakable acts - with consequences that reveal the worst and best in human nature.

Cleopatra is one of the most famous women in history - and thanks to Shakespeare, one of the most intriguing personalities in literature. Award-winning writer and beloved professor Harold Bloom delivers exhilarating clarity and invites us to look at this character as a flawed human who might be living in our world. He also explores his own personal relationship to the character: Just as we encounter one Anna Karenina or Jay Gatsby when we are in high school and college and another when we are adults, Bloom explains his shifting understanding of Cleopatra over the course of his own lifetime.