Running in rep alongside Henry VI: Rebellion (a.k.a. Henry VI, part two), the Royal Shakespeare Company’s Royal Shakespeare Theatre is also currently home to Henry VI, part three. As with the previous part, this third play in Shakespeare’s first Henriad has been renamed – going under the title Henry VI: Wars of the Roses.
The story begins with Henry welcoming his new bride, Margaret of Anjou, with a boisterous feast that isn’t exactly suited to his calm and reserved temperament – though Margaret immediately feels at home.
British plays attempting to criticise America’s gun problem often come across as distant and condescending, but American Sarah Kosar shows in Armadillo that as awful as gun culture is, it is not a black and white issue
Sarah Kosar’s new play Armadillo at the Yard Theatre, about guns and power, is an edge-of-your seat experience which is both frightening and troubling.
The second of a brace of plays running in rep at the Southwark Playhouse, Russian writing star, Mikhai Durnenkov’s The War Has Not Yet Started – featuring Mark Quartley, Sarah Hadland and Hannah Britland – is quirky and unsettling.
In a literally magical production, the London transfer of Stratford-upon-Avon’s 2016 hit sees Simon Russell Beale as Prospero shipwrecked on an enchanted island in the Med.
There’s no better way to kick the post-Christmas blues than an early January trip to the theatre, so this year we decided to go an extra step and head to Stratford upon Avon for a short break. Of course, when you’re in Stratford you’d be mad to miss a trip to the Royal Shakespeare Company so we booked well in advance to see The Tempest.
An extraordinary tale of betrayal, revenge and sorcery is brought to life thanks to wondrous special effects and a strong cast at the Royal Shakespeare Theatre in Stratford-upon-Avon.
Some people are so precious about Shakespeare. There’s historical merit in periodic restrained, original practice productions, and modern productions with superficial concepts add a degree of variation, but neither approach progresses contemporary Shakespeare performance practice. The first folio texts, those regarded closest to Shakespeare’s intentions, still may be quite distant from what may have come from the actors in the moment. Scholars can only speculate on performance style, staging and most other production elements due to a dearth of primary sources. Considering all of that, theatre makers should mess about with Shakespeare more.