This Royal Ballet season beautifully revives Kenneth MacMillan’s dramatic monument in a smooth and moving way, with a number of company debuts making Romeo & Juliet feel fresh even after all these years.
The open air season will soon be upon us. “If winter comes, can spring be far behind? as Shelley puts it. And no one does open air theatre with more hopeful enthusiasm than the lovably daft British.
Europe’s first ever pop-up Shakespearean Theatre – Shakespeare’s Rose Theatre – has announced its expansion for 2019 with a summer residency of nine weeks at Blenheim Palace in Oxfordshire.
Romeo & Juliet, with Karen Fishwick and Bally Gill as the leads, arrives at the Barbican as part of the Royal Shakespeare Company’s London residency. Although written over four centuries ago, this production feels chillingly relevant.
It’s sometimes a little difficult to take seriously how old everyone is meant to be in Romeo & Juliet but Erica Whyman’s modern-day production for the RSC, playing in rep now at the Barbican, never lets you forget.
Hilariously entertaining: Shitfaced Shakespeare does it again with its production of Romeo & Juliet.
Romeo & Juliet is not a tiresomely gimmicky ‘now’ production, but one marked all through by that close-worked RSC concentration on the text which always prompts interesting new thoughts about a play we know well.
I have followed the success of Fourth Monkey Training Company, which launched in 2010, almost since before it was a twinkle in Steve Green’s eye.
Daniel Kramer’s new production of Romeo & Juliet opens the Shakespeare’s Globe’s Summer of Love Season. But is it love at first sight with the critics?
The promenade production is set, for the most part, in the backstage area of Ffwrnes, Carmarthenshire’s newly designated circus-theatre centre. We begin, however, in the foyer, where television screens play news footage of civil disobedience and violence, while a beige-clad body lightly moves above our heads; a detached, dreamlike observer to the realities of anger and strife below.