Harold Rhenisch's first artistic love was the theatre. Twenty-eight years after first playing Puck in A Midsummer Night's Dream, he brings Shakespeare alive for us in this sparkling and inventive work fusing drama, poetry and consummate clowning. These poems are onstage, under the lights, dressed in greasepaint and tights. Some of them are vaudeville acts, others are new stagings of Shakespeare's plays, scripts for Punch and Judy puppet theatre, stand-up comedies and carnie shows, whileothers include versions of Shakespeare's sonnets set on prime time television. Hamlet is being written by 10,000 monkeys locked in a room, and a review of Macbeth is played in the City of Fools. Settings range from the London Blitz, to Chernobyl and the Cariboo, and from Berlin in 1933 to the Globe Theatre in London, where the actors and their roles change places and are faced, at last, with the choice of free will. In these alternately satiric and elegiac poems, crossing the line between dreaming and waking, Rhenisch gives us the world as a tragi-comic theatre in a provocative vision of human intelligence and transformation. Along the way, Rhenisch teases truth, recasts Shakespeare's major tragedies so they focus on their women, and puts on and takes off masks, always with the goal of freeing Will Shakespeare and releasing the passion of the poetic and dramatic traditions from the cloak of habit. This is Rhenisch the trickster at his best, in poems that both renew the lyrical and satiric traditions, and move them into a new sense of myth and light-footed irony.

Harold Rhenisch is an award-winning poet, critic, and cultural commentator. His awards include the Confederation Poetry Prize in 1991 and the BC #38: Yukon Community Newspapers Association Award for Best Arts and Culture Writing in 1996. He is a seven-time runner-up for the CBC/Tilden/Saturday Night Literary Contest. In 2005, he won the ARC Magazine Critics Desk Award for best long poetry review and the Malahat Review Long Poem Prize for "Abandon." He won this prize again in 2007 for "The Bone Yard." His non-fiction book Tom Thomson's Shack was short-listed for two BC Book Prizes in 2000. For its sequel, The Wolves at Evelyn, he won the 2007 George Ryga Award for Social Responsibility in Literature. He is the author of 32 books of poetry, fiction, biography and essays and choreographed Richard Rathwell’s Human Nation for the paper stage. Along with the Norwegian Olav Hauge, he is one of the two poets in the world who learned to write and edit poems by pruning fruit trees, an experience documented in his The Tree Whisperer (Gaspereau, 2021). A direct heir of Bertolt Brecht’s theater, through the dissident playwright and novelist Stefan Schütz, whose radio play Peyote he translated and published, he has invented a theatrical set of cross-genre literary interventions. He has secretly edited and mentored over a hundred writers in the hinterlands of Canada unserved by its university and publishing system and is currently writing a transcultural natural history curriculum and a history of British Columbia centred in the Indian Wars of the American West.

Harold Rhenisch's profile page