Shakespeare
Rachel Halliburton
A little less than two years after Sean Holmes’s kick-ass Latin American carnival-style A Midsummer Night’s Dream erupted at the side of the Thames, it has returned to a very different world. It’s no longer a natural expression of the kind of exuberance we take for granted, but a reminder of what we might be again – a blast of colour from our post-vaccine future.The Globe is, for obvious reasons, one of the best ventilated theatres in London, but full social-distancing measures are in place and the cast reminds us that if evenings like this are to remain possible we must keep our masks on. Read more ...
Heather Neill
There is a promising production struggling to get out of this muddled concept. Creation Theatre (here partnered with Watford Palace) is well known for innovative, site-specific pieces, one of which –The Tempest – was adapted for the screen, including interactive elements, last year. I missed this, but reviews suggest it worked well.That is not the case here. This may be because of the nature of the play: is it really possible to subvert the tragedy and bring about a happy ending? Or make any meaningful contribution to it? Promised a choose-your-own-adventure, I did make some decisions, but Read more ...
Tom Birchenough
It has been a hard coming for this RSC Winter’s Tale. Erica Whyman’s production was cancelled by the virus days before its premiere last spring, with plans to stage it in the autumn frustrated by the second lockdown. This broadcast version, retaining that original cast in full, is the first time that a RSC production has gone first to screen, scheduled as part of the BBC's Lights Up season.Needs must, perhaps, and what a frustrating on-again, off-again process it must have been, but there’s little sign of any resulting radical disruption – in a play that itself revolves around radical Read more ...
Heather Neill
Shakespeare's enduring tale of star-crossed lovers is especially pertinent in a pandemic. The fatal plot twist depends on failed communication during an outbreak of pestilence, and one of the most famous lines is Mercutio's heartfelt, "A plague on both your houses" – clearly no idle curse. Written a couple of years after plague had closed theatres in 1593 (when Shakespeare turned to writing poetry) that undercurrent must have been all too real for the first audiences. It resonates still.After the technical panache of the recent Manchester Palace version and before the Globe presents its Read more ...
Tom Birchenough
Just what the Zoom era has brought to theatre – to performers and audiences alike – is something we will no doubt be pondering for some while yet, certainly still in the much-anticipated eventual hereafter when stages in their “traditional” multifariousness are once again standard. Watching director Jenny Caron Hall’s livestream rehearsed reading of A Midsummer Night’s Dream, an offshoot of the Suffolk-based SHAKE Festival and a loose follow-on from her December Tempest, raised some such questions rather intriguingly.Following one of the best-known phrases from this early Shakespeare comedy, Read more ...
Richard Bratby
The screen lights up, the Zoom link connects and there, blinking back at you (30% awkward, 70% enthusiastic) is a familiar face. Is it definitely working? Can you hear me? What do we say now? God, I'm getting old. Even after 12 months of conversation through webcams it still feels forced to me; something to one side of real life, simultaneously weird and routine, intimate and alienating, even as memories of the Old Normal grow increasingly remote. Is that a piano? Well, why not, these days? And then the face on the screen – I knew I recognised him; it’s the tenor Joseph Doody, who I last saw Read more ...
Heather Neill
The story of Romeo and Juliet is well known, worth revisiting endlessly and always relevant. But there is another story here: the making of the piece using innovative digital technology including CGI, to keep actors and creative team safe in a pandemic. The actors didn't meet (except for Sam Tutty and Emily Redpath, the two leads, who had one, Covid-tested, day together), neither did they visit the Palace Theatre in Manchester, yet this production appears to use the whole building – stage, auditorium, bar and costume store.In a studio much smaller than the theatre, over hundreds of hours Read more ...
Richard Bratby
A darkened stage; a pool of light; a solitary figure. And then, flooding the whole thing with meaning, music – even it’s just a soft chord on a piano. It’s no secret to any opera goer that even the barest outlines of a staging can magnify the dramatic potential of a piece of music to a point when it can seem like a completely new work. And if – like English Touring Opera’s director James Conway – you’ve spent much of the 21st century creating large-scale drama in small venues with minimal resources; well, it all starts to look deceptively easy. Conway makes a pairing of two song cycles by Read more ...
David Nice
If you’ve loved every episode of Ben Elton’s Shakespeare and Co comedy, you’ll know what to expect – but you’ll have to swallow bittersweet pills from only two of the excellent ensemble who’ve given us such comfort and joyous rapid-fire delivery of wordsmithery over three series (and on the London stage, as it was before mid-March). Anyone unfamiliar with the format must also watch the previous Christmas special on the BBC iPlayer, where Will writes sonnet lines for Anne and works on Eighth Night for Burbage, Condell and Kemp(e) to present before the Queen: a much more fleshly entertainment, Read more ...
Veronica Lee
The Warren is normally to be found in Brighton city centre, where it stages shows during the Brighton Fringe. But there's nothing normal about 2020, so its organisers are now producing The Warren Outdoor Season at a pop-up space on Brighton beach, in sight of the Pier and the Brighton Zip, and it's reassuringly Covid-secure.There's an obvious attention to detail: the well-spaced bench tables seat up to six and each has its own speaker, there's table service from the bar, plenty of loos and hand sanitisers, with a strictly (but politely) enforced one-way system in operation. And the Read more ...
Matt Wolf
Filmed, as one would, well, imagine, prior to lockdown, Imagine .... My Name is Kwame hearkens to what now seems a bygone era of full and buzzy playhouses and adventurous theatre-making that was about the live experience and not some facsimile online. That the hourlong film, directed by Charlie Sever, tells of the multiple iterations over time of a theatre practitioner, Kwame Kwei-Armah, now running the Young Vic makes one long to be back in the whirligig of playgoing again to see where this multi-hyphenate talent will lead us next.But the focus of such programmes is inevitably to look Read more ...
Laura de Lisle
Ah, 2015. Those halcyon days of packed theatres. Thank God the RSC had the presence of mind to film Polly Findlay’s production of The Merchant of Venice, now streaming on BBC iPlayer. Condensed into just over two hours, it’s a thoughtful take on Shakespeare’s most problematic of plays, with a blinding central performance from Patsy Ferran as Portia. The character of Shylock (played here by Arab-Israeli actor Makram J Khoury, pictured left) and the gentile characters’ hostile reactions to his Jewishness have always sat uneasily in the Shakespearean pantheon. As has the play itself Read more ...