There is no option of falling asleep because if you aren’t being shoved around as if on a rush hour tube then gunfire is constantly going off. Being in the pit is an intensely exciting and quite emotional experience.
Surrounded by those with seated tickets and lorded over by scene after scene of masterclasses in the craft, the cheap seats in the pit for Julius Caesar at the Bridge Theatre are without doubt the best.
This production of Julius Caesar at the Bridge Theatre captures the audience’s attention (no matter where you sit or stand) to such great effect that the (just over) two hours passes quickly and powerfully. Well worth a visit.
Looking for theatregoing inspiration? MyTheatreMates co-founder Mark Shenton chooses his top three plays and top three musicals to book now.
Well, we’re truly into 2018 now and there’s plenty to see. From anarchic punk riot to classic mysteries, from Shakespeare to Dylan, and from troubled masculinity to a woman’s battle with depression. It’s such a terrific list; I can’t wait to see as many as I can.
Julius Caesar at the Bridge Theatre is a visceral and dynamic take on the classic Shakespearean political thriller with star performances and innovative staging.
In Julius Caesar at the Bridge Theatre Nicholas Hytner has pointed up the current parallels – populism, fake news, regime changes – and gleefully refashioned his new theatre to allow some 200 of us, on foot in the pit, to represent the Roman mob.
Nicholas Hytner’s production of Julius Caesar at the Bridge Theatre is nothing short of a Roman triumph, capturing the wonderful lyricism of Shakespeare’s writing, in what are some of his most beautiful speeches, with an urgency of action that means two hours just races by.
What is bizarre is that a lot of online bloggers found themselves on this ‘banned’ list despite having three press nights, with ample standing room.
Well, we’re all still here… The big red button hasn’t been pushed yet and theatre is better than ever! But what’s coming up this year?
Naturally, facing what felt like a significant and unbreachable rift, instability and economic downturn was the likely outcome, which for the arts, could only mean one thing – cultural depletion – as audience seek safety in comfort and nostalgia.
These are our current Top 15 Ticket Recommendations – broken down into five musicals, five plays and five ‘star attractions’ (in other words, there are famous faces in the cast) – based on both best-sellers over the past month as well as our predictions on the hottest of upcoming openings
First up in our Spotlight feature is Julius Caesar, which plays Edinburgh Festival from 14 – 26 August 2017. I caught up with actor Amanda LaBonte.
It’s an accepted cliché that, whatever the prevailing political mood there is a Shakespeare play that adequately reflects, comments on or holds a mirror up to it. Like all the best clichés it has become so ingrained in the consciousness of theatregoers because it is largely true.
Robert Hastie’s opening salvo as the new Artistic Director of Sheffield Theatres might not immediately quicken the pulse as we’ve hardly been lacking for productions of Julius Caesar. But it is soon apparent that this is a canny director at work
London Theatre Company announces the first productions at its new Bridge Theatre, which opens this October on the river by Tower Bridge and City Hall.
The Royal Shakespeare Company’s Rome MMXVII Season of four Shakespeare plays will transfer to London’s Barbican Theatre from this November, straight from their run at the Royal Shakespeare Theatre in Stratford-upon-Avon.
The trumpet sounds for the RSC’s Roman season, the mob is rowdily onstage, and the turbulent politics of 44 BC are reflected through the prism of Shakespeare’s 1599 England to throw light forward onto our own age.
What you do get from the trilogy day though is a huge sense of occasion, and the undeniable truth of the significance of what has been achieved here. Unabashedly all-female productions of Shakespeare, shaking up a (male dominated) establishment that still can’t quite let these things happen without a range of think-pieces.
I wanted to see Harriet Walter’s Iago, Leontes, Richard III, Macbeth, Lear – possibly in a mixed cast. Individuality transcends gender.