Mephisto [A Rhapsody], a French meta-theatrical update of Klaus Mann’s classic novel, has some brilliant moments but lacks metaphorical force.
Combined with the big questions it raises on compromising one’s beliefs, Mephisto [A Rhapsody] confronts classism, racism and lack of political action in the UK today, both in the arts and within the privileged but apathetic public.
Simon Russell Beale and Leo Bill shine in Joe Hill-Gibbins’ perfectly reimagined The Tragedy of King Richard the Second at the Almeida Theatre.
Borrowing a technique from American long-form TV drama, The Tragedy of King Richard The Second begins in medias res. The wonderful Simon Russell Beale steps forward, ashen-faced, to deliver the “I have been studying how I may compare/This prison where I live unto the world” speech from Act 5.
The Tragedy of King Richard The Second is not stately, sacred, shockingly regicidal Shakespeareana. This is a brawl, a nasty coup against a hopeless king, a howl of rage at what fools, in power politics, these mortals be.
Currently my favourite partnership of Simon Russell Beale and Shakespeare is at work in The Tragedy of King Richard the Second (or Richard II if you prefer, and as the person typing this I very much do) at the Almeida.
If an elderly relative in enormous physical pain begged you to help them to die, would you? Would you ever ask the same of someone else? What is a ‘decent death’? Should we all have the right to one? Or, put another way, should euthanasia be legalised in the UK?
Curtains has a play-of-the-day feel to it as it seeks to deal with its big issue – euthanasia – and, in some ways, achieves a measure of success.
When you see around 200 different shows, you’re bound to come across a few duff ones, but I’m pleased to say that nearly all of the bad shows I saw can be found in this post.
Joe Hill-Gibbins’ idiosyncratic 2015 take on Measure for Measure filled the Young Vic with inflatable sex dolls so it should come as little surprise that for his A Midsummer Night’s Dream, he and designer Johannes Schütz have transformed the stage into a muddy paddock.
Marianne Elliott, Whoopi Goldberg, Joe Hill-Gibbins, Robert Lindsay, Roald Dahl and Arthur Darvill are amongst those rounded up here.
Director Joe Hill-Gibbins returns to the Young Vic’s Main House stage with a bold new production of Shakespeare’s A Midsummer Night’s Dream. Principal casting – including Jemima Rooper, Anastasia Hille and Sunny Afternoon’s John Dagleish – has now been announced.
Rehearsals begin today (15 June 2015) for Lyndsey Turner’s production of William Shakespeare’s Hamlet with Benedict Cumberbatch in the title role. Joining Cumberbatch are Barry Aird (Soldier), Eddie Arnold (Danish Captain, Servant), Leo Bill (Horatio), Siân Brooke (Ophelia), Nigel Carrington (Servant, Cornelius), Ruairi Conaghan (Player King), Rudi Dharmalingam (Guildenstern), Colin Haigh (Priest, Messenger), Paul Ham (Official), Diveen Henry (Player Queen, …
Sonia Friedman Productions,in partnership with Sky Arts, has allocated 100 £10 tickets, spread throughout the auditorium for every performance of Lyndsey Turner’s production of Hamlet starring Benedict Cumberbatch in the title role at the Barbican Theatre from 5 August 2015. 60 of the Sky Arts £10 tickets will be sold in advance via the Barbican website in an on-line ticket …
Joining Benedict Cumberbatch, who plays the title role in Lyndsey Turner’s production of William Shakespeare’s Hamlet, are Leo Bill as Horatio, Sian Brooke as Ophelia, Anastasia Hille as Gertrude, Ciarán Hinds as Claudius,Kobna Holdbrook-Smith as Laertes and Jim Norton as Polonius.