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38* Plays, 38* Theaters, One Year is embarking on a venture to see all 38 plays in William Shakespeare's canon in 2018, each in a different theater across the United States and Canada. Called the Canon Project, the effort will be chronicled in journal form here on and result in a book profiling the 38 theaters, their communities' interactions with Shakespeare, and my own relationship with each play (*the number of plays and theaters will increase with stagings of Shakespeare's poetry or apocryphal plays).

This endeavor will cast a wide geographical net, covering every region of the continent corner to corner and in a variety of locales, from metropolitan centers to small towns. It will cover the spectrum of theaters, from internationally famous festivals to community theaters. It will feature a breadth of presentation styles, from staged readings to full-scale shows, from long-running productions to one-day-only presentations, from text-centric stagings to conceptual interpretations. Along the way, I will look through the eyes of audiences, actors, and impresarios in the communities where Shakespeare lives. I'll turn the view inward, too, reflecting on how Shakespeare, in word and action, connects with my own life experiences and particular human condition as I turn 60 during the year.

The initial outings in January demonstrate that breadth of selection criteria: Fiasco's 10-person-cast production of Twelfth Night at Classic Stage Company in New York City (a fitting start, as Twelfth Night was the first Shakespeare stage production I ever saw, 43 years and 493 Shakespeare productions ago); Miami Shakespeare's "sensory friendly" presentation of Hamlet in a botanical Garden; and American Shakespeare Center's original-production-practices staging of Richard II, featuring a woman in the title role, at the Blackfriars Playhouse in Staunton, Virginia.

The rest of the calendar and travel schedule has yet to be determined, as several of the 217 theaters with links on have not announced their summer or fall schedules. The traditional canon includes the 36 plays in the First Folio plus Pericles and The Two Noble Kinsmen. Thus far, all but five titles have been scheduled for production somewhere in Canada and the United States in 2018, along with one of Shakespeare's apocryphal works, in which he has been credited as a writer or associated with the play's composition.

Not only have I already "completed the canon," I've seen every play at least twice. The Canon Project is not merely a stunt to experience the complete works of Shakespeare in a single year; it's about interacting with Shakespeare—covering the breadth of his career and the spectrum of American theater—at this specific time in society and in my life. With the potential close to fruition of every play being produced somewhere in North America, 2018 further emerges as an ideal year from the perspectives of social, political, and personal contexts. At each stop I will see the plays (and review them on, interview the company's principals, cast members, and audiences, as well as community leaders, and explore the theater itself and its geographical setting. In addition to profiling Shakespeare in American communities, the journey will serve as a travelogue for those who wish to follow.

Part of the adventure will be working out the logistics of experiencing every play, each in a different forum in just 12 months, while facing the possibility that an obscure play or two might not make it to a stage in full production during that time. My matrix, with cross-references of various criteria I'm using for selecting productions in order to represent all regions, theater types, and staging styles, is daunting.

The adventure kicks off Friday, January 6, with Fiasco's Twelfth Night in New York. The journal, with timeline, will have a special page on at I also will be posting updates on social media outlets using the hashtags #ShakespeareCanon #38Plays38Theaters.

Eric Minton
January 4, 2018

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