RSC
Ismene Brown
Hilary Mantel’s two Thomas Cromwell novels have captured an enormous new readership for history with their crackling sense of place and immediacy of tension - the plays created on them, now brought to London by the Royal Shakespeare Company, are relishable creations of different virtues. Mantel’s exquisitely detailed, emotionally penetrating descriptions of weather, place or internal worries aren’t to be found. Instead, we get top-speed action and plot, as Henry VIII, Anne Boleyn, Cardinal Wolsey, Thomas More and the ubiquitous, observant Thomas Cromwell scythe through English history Read more ...
Demetrios Matheou
Richard II arrives in London after a highly successful Stratford run and while the glow of David Tennant’s Hamlet resides still in the memory. Surprisingly, the pleasure of the production lies not so much in dazzle as solidity. This doesn’t give a bold new reading but a robust interpretation; it is not a star vehicle (so often with the star surrounded by mediocre support) but one of the strongest company performances of Shakespeare that I’ve seen for many a year.Though Richard II can easily be seen as a stand-alone play, it’s actually the first of a tetralogy that includes the Henry IVs and Read more ...
tanika.gupta
It was over four years ago that I was commissioned by Michael Boyd, then artistic director of the RSC, to write a play which I had vaguely pitched to him as “a costume drama set in the nineteenth century with Asians running around in it”. And here we are, finally, about to open an epic and ambitious play set over the last 14 years of Queen Victoria’s reign. My initial inspiration came from an old black and white photograph taken in an ayah’s home in Aldgate in the 19th century. The picture of a group of Asian women sat around a table sewing and reading, wearing saris and Victorian dress Read more ...
Tamsin Oglesby
I read and loved The Mouse and His Child as a child. Apparently. I was reminded of this by the inscription in the copy I gave to my god-daughter 15 years ago. And again, when I read it to my own daughter 10 years later. It’s such an extraordinarily original, moving, funny, story, I couldn’t believe I’d forgotten it.But I think it’s less a case of senility and more to do with the fact that the things you absorb at an early age enter your bones, and like bones, you take for granted the fact that they’re there, even though they shape you. I grew up with a foreign mother who constantly referred Read more ...
sheila.johnston
Never quite at the top of the Shakespearean canon, Much Ado About Nothing now seems more vital and adaptable than ever – and vastly darker than, say, Kenneth Branagh’s sun-kissed screen romp acknowledged back in 1993. The cult director Joss Whedon unveiled his low-budget, film noir version earlier this month at the Toronto Film Festival to rave reviews.Meanwhile Iqbal Khan’s new stage production set in contemporary Delhi underlines the sexual anxiety coursing through the play beneath the frothy surface: the obsessive references to cuckoldry, the fear of female infidelity and the fine line Read more ...
carole.woddis
It’s brave to take Shakespeare into the West End in midsummer – and in this of all summers. Greg Doran’s all-black, African Caesar certainly doesn’t lack for impact, colour, zest, urgency. It takes the audience by the scruff of the neck and rams the play down our throats. The concept is impressive. The set, half Roman amphitheatre, half Nazi bunker dominated by a giant effigy, its back towards us with arm raised in totemic salute, summons up TV images of dictators who eventually come crashing down, from Stalin to Mubarak and who knows how many more to come.Though a stark warning from history Read more ...
Jasper Rees
“Let slip the dogs of war.” Somewhere in the bowels of Kiev’s Olympic Stadium, a football coach will have said something along these lines around the half seven mark. Meanwhile, over on the clever-clever channel, an alternative meeting between England and Italy took place.Shakespeare set any number of plays in the Italy he encountered in his source material, but with the possible exception of Romeo and Juliet, none feels quite so much of a statement about the Italian state of mind as Julius Caesar. It’s no coincidence that this was the play given to an Italian company for the recent Globe to Read more ...
alexandra.coghlan
The RSC’s Twelfth Night dumps its audience unceremoniously onto the shores of Ilyria in the thump and beat of waves. While Viola struggles from the (very deep and very real) water, asking “What country friends is this?”, we by contrast find ourselves in familiar territory. Like this season’s opener, A Comedy of Errors, both Twelfth Night and The Tempest take their birth in the water. But as the triptych progresses and comedy turns to uncertainty and ethics, so Shakespeare’s drama itself suffers something of a sea-change.Jon Bausor’s designs are a miracle of twisted ingenuity, defeating Read more ...
aleks.sierz
Unlike the National, the RSC has not had a good record of producing exciting new plays in the past 20 years or so. But one exception to this rule is the theatre’s support for the work of David Edgar, whose masterpiece Pentecost was put on by them in 1994. Now, with his latest, Written on the Heart, arriving in the West End, where it opened last night in a production directed by Gregory Doran (the RSC’s newly appointed artistic director), audiences will have a chance to travel back in time to explore a crucial event in the creation of English culture and national identity.But they will need to Read more ...
Matt Wolf
Matilda, the Royal Shakespeare Company-spawned musical about an extraordinary young girl, managed the extraordinary feat Sunday of snaring a record seven trophies at last night’s 36th Laurence Olivier Awards. Its rampaging hold over the black-tie ceremony at the Royal Opera House came at the expense of such comic hopefuls as One Man, Two Guvnors and The Ladykillers, which had 10 nominations between them and emerged with no awards. Nor did the twice-nominated Noises Off.The lack of recognition for One Man must be particularly hard for its creators coming on the eve of the Richard Bean play’s Read more ...
Matt Wolf
Gregory Doran was today named the incoming artistic director of the Royal Shakespeare Company, where he will succeed Michael Boyd in the post later this year. The announcement came as no surprise given Doran's longstanding commitment to an organisation that he first joined as an actor in 1987, before shifting careers to rise up through the RSC ranks as director (and occasional writer, as well).The appointment ended speculation that had long seen Doran as the heir apparent for the post. Industry murmurs were heard in recent weeks that Sam Mendes represented a dark horse candidacy - though it's Read more ...
hilary.whitney
In 1992 Northern Broadsides, the Halifax-based theatre company founded by Barrie Rutter, staged its first production, Richard III. Rutter (b 1946), an established actor who had worked with some of the most distinguished names in theatre such as Jonathan Miller, Terry Hands, Peter Hall and Trevor Nunn, directed the show and also played the title role. However, what made this production unique was that it was performed entirely by a cast speaking with northern voices - note, not northern accents, more of which later.Admittedly that may sound far from innovative today’s theatre audiences who are Read more ...