Abigail Thorn’s new play The Prince takes inspiration from Shakespeare and time travel to deliver a funny and deeply original take on gender norms and expectations.
In 1600 English Will Kemp triumphantly arrived in Norwich after Morris dancing the entire 125-mile journey from London. Now audiences can relive his one-man romp through the country lanes of Elizabethan England in Blue Fire Theatre Company’s production of Kemp’s Jig which is heading to those very locations: the Maddermarket Theatre, Norwich on 28 September 2022 and Hampton Hill Theatre in Richmond on 1 October.
Three Women & Shakespeare’s Will comes from the pen of Joan Greening who has made something of a speciality of writing about historical figures connected to the arts, albeit in imaginary settings/situations. Thus in recent years she has given us the relationship dynamics of three literary sisters in At Home With The Brontës and a trio of Rosetti’s Women and their influence on the titular painter.
The play All’s Well That Ends Well at the Royal Shakespeare Theatre, Stratford-upon-Avon provides a lot of food for thought, but under McIntyre’s eye it remains a humorous piece. This excellent adaptation is mesmerising from start to finish and is one of the best RSC productions I’ve seen.
The Tempest at Shakespeare’s Globe is an unexpectedly hilarious production of a potentially tricky play, with vibrant direction from Sean Holmes – George Fouracres, Ralph Davis and Ciarán O’Brien shine as a comedy trio.
Written in collaboration with John Fletcher, Henry VIII is quite possibly Shakespeare’s final play – but, despite this country’s continued obsession with all things Tudor, it remains a rarely performed piece. Imagine the delight of Shakespeare completists everywhere when it was announced as part of the Globe’s 2022 summer season, this time in a slightly updated version that sees Hannah Khalil (resident writer) become the third collaborator; the original has a heavy male focus, thanks in part to the two (male) playwrights having to work around the expectations of the establishment to avoid censorship and arrest – but now 400 years have passed, it’s about time the female voices in this story were heard as well.
A star danced, and under it was Simon Godwin’s joyful, 1930s Riviera production born. Quite apart from the fact that it is nice to have the earnest NT enjoying two outbreaks of frenetic jitterbug dancing at once – Jack Absolute upstairs at the Olivier, and here Much Ado About Nothing set in the Mediterranean hotel world of Noel Coward – where it feats with unexpected neatness.
Award-winning Canadian director Mona Zaidi is ready for the Edinburgh Festival Fringe 2022, having staged Justin Hay’s critically acclaimed play My Own Private Shakespeare which continues its run at the Willow Studio, Greenside at Riddle’s Court until 27 August 2022.
The Globe Theatre’s production of William Shakespeare’s Julius Caesar begins with the news that Julius Caesar has defeated Pompey. Right from the start, the audience is required to be part of the action as we are the commoners who are celebrating his triumphant return.
Simon Godwin’s new production of Much Ado About Nothing for the National initially seems to be going for the full-on romantic escapism, from the bougainvillea and sun-kissed (Amalfi?) coast of the front curtain to the gorgeous Art Deco-meets-Italianate Palazzo mixture of colour and elegance of Anna Fleischle’s hotel setting
The Globe’s main, outdoor theatre has not staged shows with a full audience since the summer of 2019, so the opening of its summer season with Lucy Bailey’s production of Much Ado About Nothing feels like an occasion.
Running in rep alongside Henry VI: Rebellion (a.k.a. Henry VI, part two), the Royal Shakespeare Company’s Royal Shakespeare Theatre is also currently home to Henry VI, part three. As with the previous part, this third play in Shakespeare’s first Henriad has been renamed – going under the title Henry VI: Wars of the Roses.
Mike Bartlett has made a bit of an art out of notions of the counter-factual future. In The 47th, he grounds his flights of fancy in the knowledge of institutions, people and political tides.
The story begins with Henry welcoming his new bride, Margaret of Anjou, with a boisterous feast that isn’t exactly suited to his calm and reserved temperament – though Margaret immediately feels at home.
The Merchant of Venice is seen as a problematic play but, increasingly, it seems that the problems are with us, as much as they are with Shakespeare.
Wildcard Theatre promises “Shakespeare like you have never experienced it before”, and they deliver in spades with this new gig-style reinvention of The Tempest in the perfect setting of the Pleasance’s cabaret-configured main house.
This powerful and thought-provoking production is electrifying to watch from start to finish.
Wildcard Theatre’s new gig-theatre reimagining of Shakespeare’s Tempest opens this week at London’s Pleasance Theatre. Designer Luke W Robson took a break from preparations to help us hyphenate gig-theatre and talk about sundials, sustainability and sexiness in creating the show’s look and feel.
As part of her resumed post-show talk series, Mates founder Terri Paddock will chair a discussion at Wildcard Theatre’s radical reimagining of Shakespeare classic The Tempest at the Pleasance Theatre on Tuesday 22 March 2022.
There’s way too much going on in this production of Henry V at the Donmar Warehouse, despite Kit Harington’s return to the stage.