When the first Critical Survey special issue on Arab Shakespeares (19, no. 3, Winter 2007) came out nearly a decade ago, the topic was a curiosity. There existed no up-to-date monograph in English on Arab theatre, let alone on Arab Shakespeare. Few Arabic plays had been translated into English. Few British or American theatregoers had seen a play in Arabic. In the then tiny but fast-growing field of international Shakespeare appropriation studies (now ‘Global Shakespeare’), there was a great post-9/11 hunger to know more about the Arab world but also a lingering prejudice that Arab interpretations of Shakespeare would necessarily be derivative or crude, purely local in value.

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