What toys did children play with in Shakespeare's lifetime? In this episode, historian Dr. Julia Martins joins That Shakespeare Life to explore the games, dolls, rattles, hobby horses, and playground activities that shaped childhood in Tudor England—and how these playful details appear in Shakespeare's world.

Joined this week by historian Susan D. Amussen, we take a close look at the historical evidence that confirms William Shakespeare as a real working playwright and actor in early modern England. Drawing from Susan's book What's in a Name?, we explore the documentary records—from theater company memberships and tax records to property purchases—that trace Shakespeare's life from Stratford-upon-Avon to London's vibrant theatrical world.

We also compare the surviving evidence for Shakespeare with what we know about other playwrights like Christopher Marlowe, and discuss how historians interpret the gaps in the historical record. Along the way, Susan explains what the archives reveal about Shakespeare's work with the Lord Chamberlain's Men (later the King's Men) and how these records help historians answer the enduring question: how do we know Shakespeare is Shakespeare?

In this episode, we explore what the "Ides" actually meant in ancient Rome and how March 15th transformed from an ordinary—sometimes even festive—date on the Roman calendar into one of history's most infamous days. Jörg Rüpke explains how Romans understood their calendar, what rituals or superstitions may (or may not) have surrounded the Ides, and how news of Caesar's assassination would have spread through the city. We also examine the differences between ancient historical sources and Shakespeare's dramatic choices, from Calpurnia's ominous warnings to the political and religious tensions surrounding tyrannicide.

We then turn to Shakespeare's England, asking how Renaissance audiences would have interpreted Roman dates, costumes, and political symbolism on stage. Did Elizabethans already fear March 15th, or did Shakespeare himself help create that association? Along the way, we consider how the play reflects the delicate political climate of Elizabeth I's reign, the moral dangers of overthrowing authority, and why the assassination scene unfolds at "the Capitol" instead of the historically accurate Curia of Pompey.