“The funniest and bawdiest Shakespeare I have seen” – Reviews and audiences have been laughing themselves seasick at OVO Theatre’s production of Twelfth Night, which sets the action aboard an ocean liner. Take a look at some of our favourite reactions then book your tickets!
OVO’s reimagining of Twelfth Night brings a fresh perspective to a story many of us will have seen several times before, and that in itself is quite an achievement.
Life aboard the high seas in OVO Theatre’s production of Twelfth Night is full of music, relaxation and cocktails that just won’t stay in their shakers, certainly according to these brilliant production images. Take a look, then book your tickets!
Shakespeare’s Twelfth Night is given a jazz-age twist in a new musical version of the classic comedy currently entertaining audiences at The Rose Playhouse. And instead of taking place in the Bard’s Illyria, the action in this production takes place on an ocean liner. Book your tickets now!
With two performances in the original French, which will feature the playwright in an acting role, together with the English ones still to come before the play ends its run on 21 April, Will is that rare gem, a play which is both worthy and fun.
Discover Shakespeare in a different light via Will at the Rose Playhouse, illuminated on stage rather than in the pages of his plays and poems.
Will is a very busy production, crammed with anachronisms and too many competing ideas – something of a work-in-progress.
There are numerous nice ideas in the script for Will at the Rose Playhouse, but the resulting effect is just that – nice. Nothing here is groundbreaking or fully developed and the anomalous mix of styles indicates a lack of focus and precision in both the script and direction.
Lots of different things opening across the country in March. In London there are a lot of Fringe and Off West End productions coming your way.
My verdict? A bold attempt at a classic play, utilising the unique performance space well – this Macbeth at the Rose Playhouse is worth a visit, if you can keep out the cold…
When you see around 200 different shows, you’re bound to come across a few duff ones, but I’m pleased to say that nearly all of the bad shows I saw can be found in this post.
In Shakespeare’s battle-hardy tragedy, Caius Marcius is rebranded Coriolanus after defeating the Volscian army at Corioles.
Set in the arena of a carnival, the audience are propositioned with hula hoop competitions, pin the tail on the donkey (an appropriate addition) and dazzled by card tricks.
It’s so easy to brush aside a production of Romeo and Juliet – it’s overdone, every one knows it, it’s not innovative. But when it’s staged with energy, passion and commitment, the story shines through and you’re reminded that it’s actually a wonderful play.
The first thing to know about Troilus and Cressida is that it’s not really about Troilus and Cressida. Or at least not just about them. Based on the Iliad, the play picks up the story of the Trojan Wars seven years in, where we find the Greeks fighting amongst themselves because their leader Agamemnon’s stolen a war prisoner from their star warrior Achilles.
Cross-gender and gender blind casting goes a long way to fight the pervasive gender inequality in theatre. With male characters dominating Elizabethan and Jacobean theatre, these casting approaches, along with all-female productions, are the only way to work towards achieving equality in classical productions. At the Rose Playhouse, director Peter Darney of Em-Lou Productions takes […]
The Rose, the tiny fringe theatre built on the remains of its Elizabethan original, is one of the most unique theatres in London. It has its issues, though. Rather than the hierarchy with an artistic director at the top, it is managed by a team of artistic associates, all volunteers. Due to the lack of an individual’s clear programming vision, the productions here are hit and miss. Their current production of Hamlet, though it has a few moments of invention and effectiveness, largely misses the mark due to poor performances and a huge reduction in length, which hacks the dramatic arc and character journeys to bits.
Shakespeare liked to play around with ideas of male and female. From cross-dressing to multiple identities, appearances are never quite what they seem on his stage. So it’s fitting then, that Natasha Rickman decided to run a little gender experiment. Each night, the cast take on either a role of their own gender, or the opposite. Add to that, the cast jump between different parts as the show goes on, sometimes within the same scene. All in all, in order to make it an effective performance, the acting needs to be impressive in order to break down the walls of believability to make the audience buy into the shifting identities of the people before us. And they do.