Deciphering is billed as “an inter-continental journey to the origins of human creativity” and it certainly lives up to this epic ambition.
The Royal Shakespeare Company joins forces with BBC4 for the world premiere of A Winter’s Tale, a production intended for the 2020 stage and all but lost to theatre history.
With the one-year anniversary of theatres being forced to close in sight, the Royal Shakespeare Company has announced that audiences will now get the chance to see The Winter’s Tale and The Comedy of Errors, two of its postponed 2020 major Shakespeare productions.
Alan Bennett writes that “I’ve always had a soft spot for George III”, for no better reason than that he had studied the monarch’s reign at secondary school and then again at uni.
An excellent production of a modern classic with a towering central performance: Alan Bennett’s early 1990s play examines public versus private monarchical concerns at the end of the 18th century in the latest stream from National Theatre At Home.
Caryl Churchill’s superb Top Girls receives a luxurious but clear-sighted production from Lyndsey Turner at the National Theatre.
The revival of Alan Bennett’s 1991 classic The Madness of King George III at Nottingham Playhouse couldn’t then be more relevant, a play that speaks to our interest in the people who govern us as well as concerns about fitness to rule, mental health and its treatment.
Clare Burt makes her RSC debut in the lead role of Miss Littlewood, a new musical about theatre director, Joan Littlewood. Previews begin in the Swan Theatre, Stratford-upon-Avon on 22 June 2018.
The RSC’s artistic director Gregory Doran has a kindly sense of balance, so the dourly modern, blokey, bleak and inevitably joyless Macbeth just down the corridor is offset by The Fantastic Follies of Mrs Rich, a merry bit of Restoration fluff and female scorn, by the largely forgotten 17the century writer Mary Pix. Good move, Mr D.
A musical about cancer? As unlikely as it might seem, A Pacifist’s Guide To The War On Cancer isn’t even the first one that I’ve seen. That dubious honour goes to Happy Ending, one of the most misjudged shows I saw last year, but fortunately this Complicite and National Theatre co-production in association with HOME Manchester rejoices in a much stronger pedigree.