So pleased to have one of my favourite actresses take on the 10 questions for 10 years challenge – all hail Noma Dumezweni!
It’s all in a name this week as our editor Lisa Martland picks out her Top Picks from the last week’s theatre in the West End, London Fringe or beyond.
As part of a new series, our editor Lisa Martland picks out seven of her Top Picks from the last week of theatre (29 April-6 May 2019). Amidst her choices are two more West End productions of classic American drama: Arthur Miller’s Death of a Salesman at the Young Vic (Emily Garside) and Tennessee Williams’ Orpheus Descending at the Menier Chocolate Factory (Libby Purves).
Few other writers other than Vanbrugh simultaneously evoke quite the savage cynicism, torrential verbal wit and real anger of The Provoked Wife, this slightly alarming and ceaselessly entertaining piece about men, women, and social hypocrisies.
Later this year, the three Shakespeare productions from the Royal Shakespeare Company’s (RSC) summer 2019 Stratford season transfer to the Barbican from 26 October 2019.
Out of Water, a new play about gender, regional and professional identity, rides the crest of the feelgood factor.
Two days after Shakespeare’s birthday (23 April), I’ll still be celebrating the bard myself as I make my Royal Shakespeare Company ‘debut’ chairing a panel discussion in Stratford-upon-Avon connected with their new production of The Taming of the Shrew.
Stories rule in the RSC’s brilliant production of Matilda The Musical in an adaptation which feels properly true to the spirit of its Roald Dahl original – complete with dangerous spikes and revolting children.
The Merry Wives of Windsor is often looked-down-upon as a casual piece of throwaway entertainment lacking substance or serious intent, with little for scholars to get their teeth into. However, this is a play whose time is surely coming again.
Returning to the RSC and the Barbican for The Merry Wives of Windsor after his triumph in Titus Andronicus last year is David Troughton as the drunken and self-proclaimed womaniser, Falstaff, his caricaturesque performance mirroring the cartoony nature of the plot, characters, script and direction.
This is a Macbeth that emphasises the psychological horror of the story. It is a brutal and murderous play, but priority is given to the effects of the violence rather than the violence itself.
David Edgar’s adaptation of A Christmas Carol, directed as last year by Rachel Kavanaugh, gives the old story of ghosts and redemption deft additions and expanded scenes
As a parable of the apparent inadequacy of legend in a real world, the RSC’s Don Quixote it is timeless and matchless.
In James Fenton’s adaptation of Cervantes’ 17th-century classic, the fabled antics of Knight Errant Don Quixote are given a contemporary understanding that still preserves the original’s richness.
It’s taken two years for the RSC’s hit Don Quixote to make it to the West End with David Threlfall and Rufus Hound reprising their roles as the hapless knight errant and his squire.
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.
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.
This Macbeth should be an absolute blinder with such a strong and perfectly brooding lead… but unfortunately, the production falls a little flat in pivotal places.
Overall it is a beautiful re-telling of Macbeth, keeping true to the script but taking a twist on a unique element. Macbeth at the Barbican is not to be missed.