The success of Show Must Go Online’s engrossing The Taming Of The Shrew is a real credit to the company’s creativity and the magic of this emerging art form.
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.
Last week saw the first production of The Show Must Go Online, a series devised by Rob Myles (who Mind the Blog regulars will recognise from Merely Theatre’s Twelfth Night and his insight into Shakespeare dramaturgy) which will bring a different Shakespeare play to YouTube each week with a rotating cast of actors.
Are you superstitious? The most famous theatrical superstition is, of course, the one about “The Scottish play”. Do the cast of Lazarus Theatre’s new ensemble production believe in curses?
Lazarus Theatre Company’s production of Macbeth effectively mixes the old and the new, adding to this sense that Macbeth is a cautionary tale for every era.
Lazarus Theatre’s ensemble-based take on Macbeth at Greenwich Theatre proves thrilling in its stylish directorial vision.
It doesn’t matter if you’ve never seen Ben Elton’s TV comedy series Upstart Crow (I hadn’t) as the stage play is a stand-alone piece
The quick-witted comedy you expect from Ben Elton which is seen in the BBC series runs throughout this incredibly funny stage production of Upstart Crow.
As a slightly weary Twelfth Night veteran, personally I enjoyed this more sombre adaptation of the play, which remains accessible to newcomers while offering a fresh perspective to those who’ve seen it before.
Ought To Be Clowns barely saw 250 shows this year, quiet by his standards. And as is the way of these things, here’s a rundown of some of the productions that moved me most…
Ever behind the curve, I present 10 of my top moments in a theatre over the last ten years (plus a few bonus extra ones because whittling down this list was hard, and it will probably be different tomorrow anyway!).
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.
As part of her ongoing post-show Q&A series, Mates co-founder Terri Paddock gets bloody with Lazarus Theatre company care of Shakespeare’s Macbeth at Greenwich Theatre. Got any questions?
Teenage Dick at the Donmar Warehouse does extremely well in dealing with disability but I think we’re kidding ourselves if we’re yet in a place where this would happen organically.
In Teenage Dick Mike Lew has created a version of Richard III that suits the high school context extremely well, asking the audience to consider attitudes to disability, power and social structures that perpetuate all kinds of inequality.
Late 90s pop is always my jam so a musical that features it is always going to be a winner. The brilliant & Juliet is so much more besides as well though.
Greg Doran has translated the play’s Viennese setting to the 1900s, but while there has clearly been an imaginative attempt at a credible interpretation of the yarn, this production is hamstrung by too much mediocrity.
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.
Gold lame curtains, hoodies and hi-vis – we wouldn’t naturally associate them with Shakespeare, but this is the world of the new production of The Merchant of Venice, currently playing at Drayton Arms Theatre. Take a look at the production images, then book your tickets.
It has been a long time since the West End saw a truly great Macbeth so perhaps this is a chance for Simm and Kirwan to buck the trend with impressive performances that offer a different perspective on their characters while creating a potency in their exchanges that is never less than compelling.