Charlie Josephine’s play I, Joan at Shakespeare’s Globe does give Joan a feminist mantle; that is probably for the best, as the character would be pretty unbearable if focused solely on their religious and nationalist quest – it also speaks more to a modern audience, and makes more sense in the context of other creative choices in this play.
History wasn’t only written by the winners, but by the men on the winning side so what can it really tell us about the lives, experiences and identities of anyone else? That is the central debate in Charlie Josephine’s new play for the Globe Theatre, I, Joan, a re-examination not only of the supposed facts and assumptions made about Joan of Arc but also her subsequent presentation predominantly by male artists and writers who retrospectively project shape and meaning onto her story, replacing Joan’s voice with their own.
Written in collaboration with John Fletcher, Henry VIII is quite possibly Shakespeare’s final play – but, despite this country’s continued obsession with all things Tudor, it remains a rarely performed piece. Imagine the delight of Shakespeare completists everywhere when it was announced as part of the Globe’s 2022 summer season, this time in a slightly updated version that sees Hannah Khalil (resident writer) become the third collaborator; the original has a heavy male focus, thanks in part to the two (male) playwrights having to work around the expectations of the establishment to avoid censorship and arrest – but now 400 years have passed, it’s about time the female voices in this story were heard as well.
Romeo & Juliet at Shakespeare’s Globe is a new and vital take on the classic Verona tale, contextualising the characters’ motives – this is not about romance, it’s about escape.
Sixteen weeks ago the National Theatre At Home season was launched and this week the final show began its one week run. In Amadeus they may just have saved the best until last.
Overall, Al Smith’s play feels as though it is too meandering to be completely effective, but this production has a charm about it to keep you engaged from start to finish.
A saucy, seaside postcard of a show, Benidorm Live is sure to delight fans of the series and newbies alike as they take a carefree, innuendo-filled trip to sunny Spain.
After ten years on our television screens, the long-running sitcom Benidorm has found a new home on stage as a national touring production.
Award-winning ITV comedy show’s series creator and writer Derren Litten is bringing Benidorm’s signature sunshine and shenanigans to theatres across the UK and Ireland.
However, by the time the whole auditorium is on its feet for the finale, dancing along to Y Viva Espana, you’d be forgiven for forgetting how many cracks in the Benidorm carapace have been papered over to get there.
Killer Joe is a horribly misjudged revival at Trafalgar Studios that makes a mockery of #MeToo, you and all of us.
Arguably, the revival of a 25-year-old script is done for one of two reasons; either its excellent writing simply entertains, or it is pertinent to today’s societal trends. With Killer Joe, the rationale is unclear.
Killer Joe is definitely not an easy watch but thanks to the solid chemistry and performances from the cast it is a compelling production to watch that leaves the audience feeling on edge. Gripping, thrilling and powerful from beginning to end.
For Tracy Letts’ first play, it is almost perfectly structured and paced. Each dark twist in Killer Joe is unravelled delicately, each scene is a steadily heating pressure cooker. And the dialogue! Cutting, mean-spirited and genuinely witty.
Details have been revealed of the full cast joining Hollywood star Orlando Bloom who will star as a cop who moonlights as a killer-for-hire in multi award-winning Tracy Letts’ blackly comic thriller Killer Joe in the West End.
There is so much to admire in this revival that it’s hard to know where to start first. Let’s go with Lucian Msamati. I maintain that he was cruelly robbed of at least acknowledgement and nomination in the various end-of-year award shows.
Now back at the National’s Olivier Theatre until 24 April 2018, Michael Longhurst’s production of Amadeus stars Adam Gillen and Lucian Msamati as Mozart and Salieri. Here’s what critics have made of the production’s return to London…
That this is Michael Longhurst’s debut in this theatre makes it all the more impressive and I wouldn’t be surprised if his name doesn’t soon become one of the ones bandied around the round of musical chairs that is London artistic directorships.
Lots of updates coming from the South Bank today after the National Theatre’s press conference earlier this month when artistic director Rufus Norris unveiled programming plans for 2018. Today, further dates and casting for many of those productions are announced.
Peter Shaffer’s play about Wolfgang Amadeus Mozart and Antonio Salieri has returned to the National theatre where it premiered in 1979. Lucian Msamati and Adam Gillen star as Salieri and his nemesis.
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