How did Shakespeare’s plays sound when they were originally performed? How can we know, and could the original pronunciation ever be recreated? For three days, Shakespeare’s Globe presented a production of Romeo and Juliet in original, Shakespearian pronunciation. In an unusual blend of autobiography, narrative, and academic content, David Crystal recounts the unique nature of the experience. He begins by discussing the Globe Theatre’s approach to ‘original practices’, which had dealt with all aspects of Elizabethan stagecraft - except pronunciation. A large section is devoted to the nature of the Early Modern English sound system. There are reports of how the actors coped with the task of learning the pronunciation, how it affected their performances and how the audiences reacted. In this new edition, he reflects on the development of the original pronunciation movement across the world, since the Globe’s experiment.