Shakespeare
As You Like It, @sohoplace review - music-filled, warm-hearted celebrationFriday, 16 December 2022
The scene is set onstage in the first minutes. And it remains a stage throughout this harmonious production. The action takes place in a severe court and a more liberal forest, but really the setting is always a place of imagination, a theatre.... Read more... |
Othello, National Theatre review - ambitious but emotionally underpoweredSaturday, 10 December 2022
Clint Dyer is the first black director of Othello at the National Theatre, a venue that once staged the piece with its actor founder Laurence Olivier playing the lead role in blackface. We are reminded of this now-reviled practice before... Read more... |
The Tempest, Shakespeare's Globe review - occasional gales of laughter drown out subtletySaturday, 06 August 2022
Alexei Sayle, in his angry young man phase, once said that you can always tell when you’re watching a Shakespeare comedy, because NOBODY'S LAUGHING. That’s not entirely true, of course, but sometimes a director has to go looking for the LOLs and... Read more... |
Much Ado About Nothing, National Theatre review - Shakespeare’s comedy goes Hollywood musicalFriday, 22 July 2022
After gender-flipping the National’s Malvolio, the director Simon Godwin might have been expected to be equally bold with Much Ado About Nothing at the same address. A same-sex Beatrice and Benedick romance? Dogberry in bondage gear, zonked out on... Read more... |
The Tempest, Theatre Royal, Bath review - multi-dimensional Shakespeare classic overpowered by comedySaturday, 09 July 2022
The Tempest, a rich and profound late work, is probably Shakespeare’s most complex and layered play: the combination of power politics, philosophy, magic and romance is dizzying and a challenge to any director who attempts to encompass the... Read more... |
First Person: director Richard Wilson on a musical midsummer night film premiereTuesday, 21 June 2022
In today’s near-normal times it is easy to forget how hard COVID-19 had hit the music industry, especially for touring orchestras like the Academy of St Martin in the Fields. Masked, socially-distanced performances; streamed concerts from empty... Read more... |
King Lear, Shakespeare's Globe review - eviscerates emotionally while illuminating a society rotten with liesMonday, 20 June 2022
Kathryn Hunter’s performance as Lear forges its heat from contradictions. She is as frail as she is strong, as detestable as she is loveable, as powerfully charismatic as she is physically diminutive. That she is a woman playing a man is the least... Read more... |
Julius Caesar, Shakespeare's Globe review - the Bard buried in bad choicesSaturday, 14 May 2022
With tyrants licking their lips around the world and the question of how to respond to their threat growing ever more immediate, Julius Caesar director Diane Page eyes an open goal – and misses. A statue stands alone on the stage (this touring... Read more... |
The Merchant of Venice, Sam Wanamaker Playhouse review - enormous empathyThursday, 10 March 2022
The Merchant of Venice is a comedy, you say? Shakespeare, as ever, refuses to be confined to convenient boxes, his best plays’ extraordinary pliability and longevity a testament to the piercing eye he cast towards the slings and arrows that assail... Read more... |
Henry V, Donmar Warehouse review - playing at warSaturday, 05 March 2022
Sharp suits swapped for combat fatigues, a people’s commander: you’d think that Max Webster’s production of Shakespeare's surprisingly nuanced propaganda history-play would have special resonance in a week which has seen horrors and heroism... Read more... |
Hamlet, Shakespeare's Globe review - melancholy mash-up lacks chemistryTuesday, 08 February 2022
Hamlet isn’t often played for laughs. When David Tennant took the comedic approach in the RSC’s 2008 production, it was testament to his mercurial genius that his performance brilliantly conveyed the manic grief of a young man whose world was... Read more... |
Measure for Measure, Sam Wanamaker Theatre review - this problem play is a delightMonday, 06 December 2021
Measure for Measure may be the quintessential Shakespeare “problem” play, but just what has earned it that epithet remains a puzzle. Each generation approaches the matter from its own perspective. The developments of recent years, #MeToo most of all... Read more... |
