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.
Thirty-eight Shakespeare plays in a year, that was the aim, and the project is completed by The Two Noble Kinsmen as performed at the Globe Theatre in a 2018 production helmed by Barrie Rutter.
Here are Shane Morgan’s picks of how 2020 in theatre has continued to do what it does best: transporting us by engaging the heart, mind and soul.
Are you fed up with not being able to go out to the theatre? Don’t be. There’s a wealth of stuff to watch online. Here’s a handy list of current opportunities. OK, so it’s not quite the same as sharing the communal experience with others, but beggars, as they say…
“What angel wakes me from my flowery bed?” A plethora of productions of A Midsummer Night’s Dream, that’s what.
Carnival reaches Southwark in this vibrant new A Midsummer Night’s Dream, with a lively cast &and colourful designs – and don’t get comfortable if you’re a groundling.
A fresh perspective on the classic Henry V, concluding Hal’s journey from errant prince to conquering king – an action-packed end to the trilogy.
Random and topical thoughts and quotes gathered by My Theatre Mates contributor Aleks Sierz, first published on www.sierz.co.uk.
So what can be done to make Shakespeare less boring, or prove that Shakespeare isn’t boring (depending on how you look at it)? It does feel to me that we’re in the middle of a golden age of Shakespeare productions.
Eyam is a celebration of the strength of human spirit in the face of seemingly impossible odds, highlighting the power and comfort of community – a stirring watch.
Apparently, 2018 is the ‘Year of the Woman’, and it has definitely felt like the world of theatre has stepped up for the occasion.
On the broader theatrical landscape, there are plenty of things opening this month! In London Eugenius! returns to The Other Palace, Milly Thomas’ Dust transfers to Trafalgar Studios 2, and Foxfinder opens at the Ambassadors.
Though at the moment it looks quiet, I have finally got a draft schedule together for my time in Edinburgh, and it seems as if my plan to ease myself in has just gone out of the window… It’s going to be a hectic week for me up there, but it has to be done!
As You Like It is exactly the kind of show that was needed to help kickstart the new season at the recently rebranded Globe; bright & joyful and a real celebration of Shakespeare’s work (without being overly reverential).
I thought it would be great to celebrate some of my favourite things about Emma Rice’s time as the artistic director of Shakespeare’s Globe.
However, a couple of interesting tweets popped up from Channel 4’s political correspondent, Michael Crick, that seemed to get people’s juices flowing – one of which makes a rather pertinent point. What do we buy programmes for? What is the point of them?
You might be forgiven for thinking that only certain Shakespeare plays are allowed to be produced in any given 12-month period – for example, last year I saw five different Twelfth Nights, and this year there are at least three Macbeths already on my radar.
What is personally the most galling is the programming of Twelfth Night. Emma Rice’s production was my favourite show of 2017. It almost feels like they’re trying to brush it under the carpet by putting it on again so soon.
Any number of shows could have been included in this post; frankly it’s ludicrous that I decided to stick with my whole top 12 idea… As I’ve seen about 90 more individual shows than last year.
Despite a slow, measured start, I upped the pace after a while and (after today) will have somehow managed to see 212 different shows (my P.B.) – and 291 shows in total, equalling 2016.
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