In collaboration with theatres across the UK, #scenechange – a community for stage designers taking action for theatre – has launched #MissingLiveTheatre, wrapping theatre buildings in a positive message of hope and visibility to the industry.
Due to the continuing lockdown, alongside Government advice that social distancing will need to remain in place for some time, the Company has made the difficult decision to postpone all remaining planned performances.
I have been collecting these for at least 35 years and now have a nearly complete set of post-war programmes from the Stratford theatres (if anyone has a hoard of uber-rare, early programmes from The Other Place, I need to know).
As the COVID-19 pandemic continues, the Royal Shakespeare Company (RSC) has announced that all performances, events and activities will be cancelled up to and including Tuesday 30 June 2020.
To mark World Theatre Day (Friday 27 March 2020), the Royal Shakespeare Company is inviting people to join a live ‘watch along’ from their living rooms on 11 April of a recording of their 2017 production of Shakespeare’s comedy Twelfth Night, featuring Adrian Edmondson as Malvolio and Kara Tointon as Olivia.
While The Whip highlights the moral complexity of the abolitionist movement, the density of the plot does not enable the emotional weight of the piece to translate to its audience.
The RSC’s winter season features a musical version of The Magician’s Elephant & an epic Wars of the Roses staging.
Mind the Blog has a fairly wide-ranging wish list of things I hope to see, including major shows such as Sunday in the Park with George, Evita, Magic Goes Wrong, Uncle Vanya and the Jamie Lloyd Company residency at the Playhouse Theatre.
Here is a snapshot of my favourite theatre from the past 10 years, the plays that stand out most in my memory, the ones I talk about if people ask.
Gregory Doran’s RSC production of Measure for Measure is a subtle and absorbing account of a play that gets weirder with every viewing.
If more resources are not put into more apprenticeships, it will be a great pity for both for the creative industries & the many young people who simply don’t get the opportunity to make the best of their talents.
The Taming of the Shrew remains an undoubtedly stimulating evening and well worth a visit, if only to witness the script re-imagined and reinterpreted – a pleasing rarity.
After several years’ development, the Royal Shakespeare Company’s highly anticipated new musical – an adaptation of best-selling children’s author David Walliams‘ 2008 debut novel The Boy in the Dress with a book by Mark Ravenhill and music and lyrics by chart-topping songwriters Robbie Williams and Guy Chambers – is gearing up for its world premiere. Ahead of […]
Director Kimberley Sykes embraces the playful text of As You Like It with a diverse and tuneful cast so at ease with the text that off-the-cuff moments and audience interaction are plentiful.
As the RSC’s latest staging of Shakespeare’s The Taming of the Shrew, here’s a throwback to when Mate Terri Paddock chaired a fascinating panel discussion in Stratford-upon-Avon around the themes in the play and production.
There is nothing wrong with having two periods onstage at once, and the fine cast does its best with the infuriatingly threadbare drawing of relationships, but The RSC’s A Museum in Baghdad feel like a bit of a mess.
Intertwining ribald comedy with a morality tale is no easy feat, yet an outstanding cast and creative team reinforce this thought-provoking and immersive experience of Measure for Measure for all to enjoy.
The Royal Shakespeare Company has announced its schedule for summer 2020, a season of Shakespeare plays exploring separation, loss and deep bonds of family.
The Royal Shakespeare Company has announced its decision to conclude its partnership with BP at the end of this year. BP have supported the RSC’s £5 ticket scheme for 16 to 25 year olds since 2013. Talking about the decision, RSC artistic director Gregory Doran and executive director Catherine Mallyon said: “Over many months we have listened to a wide and varied range of voices …
The RSC’s King John could work, and in the shorter, darker, more medieval part after the interval it begins to, with the actors at last allowed to stop yelling and clowning.