Reading that the Globe may struggle to come back from this current crisis without the help of donations and emergency funding didn’t seem quite real.
The tragedy’s shades of light are teased out and played with, and much of this owes itself to Michelle Terry’s Hamlet.
Shakespeare’s Globe has been preparing a raft of new digital content to continue to engage its audiences with Shakespeare’s works. Shakespeare & Love in Isolation will see artists, in times of solitude and from their place of sanctuary, sharing some of the greatest words ever written. The series will be released as soon as possible, and artists involved include the creative team …
Shakespeare’s Globe’s summer season 2020 will include Shakespeare’s Romeo & Juliet, Much Ado About Nothing, Twelfth Night and Antony & Cleopatra.
Henry IV Part 1 is a fast-paced, fun production that speaks to our politically unstable times – a great way to start the new season.
Anything which makes me think about these plays in a new way is a bonus. I also want actors – irrespective of their sex – to have maximum opportunities.
Shakespeare’s Globe has announced its summer season 2019. The celebration and interrogation of ‘our sceptred isle’ through Shakespeare’s history plays continues with Henry IV Parts 1 and 2, and Henry V, while elsewhere there is A Midsummer Night’s Dream, The Merry Wives of Windsor, Ben Jonson’s Bartholomew Fair, and the return of 2018’s As You Like It.
Doctor Faustus at Shakespeare’s Globe certainly provides an entertaining evening and, if it raises questions as well as providing answers, its approach is fresh, important and fascinating.
Following its sell-out run at Shakespeare’s Globe, Morgan Lloyd Malcolm’s new play Emilia, directed by Nicole Charles, will transfer to the Vaudeville Theatre for a strictly limited season from 8 March to 15 June 2019.
Robert Hastie directs Michelle Terry and Paul Ready in this new production of Shakespeare’s Macbeth. Love London Love Culture rounds up the reviews…
Here in Robert Hastie’s careful production of Macbeth is all the horror, psychological acuity and profound, terrified morality of Shakespeare’s darkest play.
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.
Apparently, 2018 is the ‘Year of the Woman’, and it has definitely felt like the world of theatre has stepped up for the occasion.
Who knew one of Shakespeare’s greatest tragedies could be funny? Director and composer Claire van Kampen has tapped into a rare rhythm that sees Iago as a weaselly, clownish man lacking power and finesse, yet still manages to twist Othello into knots
The opening of the new season at the Shakespeare’s Globe pairs up Hamlet with As You Like It. Here’s what critics thought of the venture….
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).
Though there are plenty of positive elements across As You Like It and Hamlet, they don’t cohere as part of an over-arching style or concept.
Here, in Shakespeare’s, 400 years ago, actors ‘conjured’ and beguiled their audiences. And so here, too, in 2018, theatre and As You Like It has again worked its magic.
This production of Hamlet is a key moment in Michelle Terry’s new role as artistic director of the Globe, after the less than happy departure of Emma Rice. And power to her:
A strong opening gambit then from Michelle Terry with As You Like It and Hamlet, and one which makes me quietly excited for her tenure as she further explores how inclusive Shakespeare can be for audiences both old and new.