Adaptations of Shakespeare: Critical Anthology Book

I've logged most of these individually as I've gone through, but in general this a great anthology. It has a wide selection -- admitting that it could never be complete -- and adds brief but informative introductions to each play. There's some minor biographical details of the author, some historical context, and then the thematic analysis, with obviously specific attention paid to the play's relationship to the Shakespearean 'original/s.' Thankfully it never drops into unnecessary academic linguistic nonsense; the bibliographies are marked to alert us to those that are "particularly accessible." And at the back there's a list of further reading. Scattered thoughts below on those plays I haven't added separately.

King Stephen, by John Keats: an intriguing fragment, poetic of course, gave me shades of little Ben Whishaw doing Richard II, but I'm unsure it'd sustain itself over five acts. Not that we'll ever know, of course.

uMabatha, by Welcome Msomi: a fairly literal transposition of Macbeth to the ancient South African tribal setting. No doubt it'd be quite something in performance, but on the page it reads like a paraphrase of the original.

Measure for Measure, by Charles Marowitz: phenomenal. Admittedly my memory of the original is shaky but god this is amazing. Comes for your innards. Bleak and bitter and offers no escape. Made me want to track down Marowitz's other adaptations and also made me a convert to his idea that there's no point to putting on these plays unless you change them, warp them, break them into something new and current.

Lear's Daughters, by Elaine Feinstein and The Women's Theatre Group: a nice exploration of why everyone is Like That in King Lear, but some rather one-note characterisation lets it done, everyone constantly forced to act in ways that don't make them seem like human beings in a story where we want more humanity rather than less.

This Island's Mine, by Philip Osment: a queer polyphonic tale in the age of Thatcher. Its insistence on having its characters frequently narrate what they're doing/feeling instead of, you know, using dialogue and action renders it stiff and impossible to relate to. Additionally, its Shakespearean connections are pretty minor, and I was confused by its inclusion here.