Stories swirl around each other in Midnight Movie at the Royal Court, growing and fading like variations on a theme in a piece of classical music. It’s heady and disorientating, like a surreal bad dream, yet strangely compelling.
I wanted to love this Midnight Movie, but — like almost any screen experience — I couldn’t quite connect with it. Despite some disturbing passages, it feels like less than the sum of its parts.
The UK premiere of Estelle Savasta’s play (translated by Kirsten Hazel Smith), Going Through is a story about the journey’s child migrants take and the people they leave and meet along the way.
Overall Going Through is just a beautiful thing. Gorgeous writing, a stonkingly good production and a brilliant cast. Seventy-five minutes of humanity and joy. Highly recommended.
There is greatness striding through the heart of Bristol Old Vic’s A Christmas Carol and it comes in the shape of Felix Hayes’ Ebenezer Scrooge.
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.
Shakespeare’s Globe has announced casting for Hamlet and As You Like It, the opening shows of Michelle Terry’s first season as artistic director.
Federico Garcia Lorca’s formidable text, in a wonderfully uncompromising translation by Jo Clifford which is set within the distinctive confines of Manchester’s Royal Exchange Theatre.