I posed some questions to The Show Must Go Online returnees Luke Barton, Kristin Atherton, David Johnson and Lucy Aarden about their experiences with this weekly lockdown hit.
Last week saw the first production of The Show Must Go Online, a series devised by Rob Myles (who Mind the Blog regulars will recognise from Merely Theatre’s Twelfth Night and his insight into Shakespeare dramaturgy) which will bring a different Shakespeare play to YouTube each week with a rotating cast of actors.
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.
Something wicked this way comes…” It’s Merely Theatre, as the company tours its brand new production of the Scottish Play in rep with Much Ado About Nothing.
A comic triumph that welcomes everyone to Messina, with some fun musical choices amongst the Shakespeare – the performances from the cast of six are vibrant and full of energy.
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.
I get rather drawn to the stats page of the blog at times. But it’s always interesting to see the search terms that bring people here – and which posts get the most hits!
A self-described modern rep company, Merely Theatre is addressing Shakespeare’s gender problem with 50/50 casting. Five male/female pairs each learn a set of characters in two plays, then on the night it’s decided who will perform.