Shakespeare. Theatre. Press Nights. These are all concepts we are familiar with, but in this unprecedented time of COVID-19 lockdown, for a moment we were unsure how theatre would survive.
Enhancing the magic and dreamy qualities of the play, Nicholas Hytner’s production of A Midsummer Night’s Dream is a delightful two hours of comedy, love and misunderstandings.
The Barn Theatre in Cirencester has built on its broadcast earlier in lockdown of Henry V to develop a sequence of thirty-five monologues from Shakespeare’s plays.
Series one begins with the theatre itself and a stirring speech from Henry V, but as …
A new production of Shakespeare’s Hamlet, directed by Sean Mathias with Ian McKellen in an age-blind interpretation of the young Prince, will go into rehearsals on Monday 29 June 2020.
Knowing that some 600 people had applied the week previous to that, I had no great expectation that I would be selected but, to my amazement, I was offered the part of Costard.
To take a play as epic in scale as Coriolanus and find a natural home within the intimacy of London’s Donmar Warehouse takes a skill and lightness of touch that is not only rare but all so often missed.
Reading that the Globe may struggle to come back from this current crisis without the help of donations and emergency funding didn’t seem quite real.
There are some staggering contemporary references to draw from this staging of a lesser-known Shakespeare, starring Tom Hiddleston.
The Show Must Go Online was firmly back in history mode with the beginning of Shakespeare’s second tetralogy in Richard II. Not quite as much bloodshed as the previous set of histories that we’ve seen – more posturing and challenging than anything.
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.
It is not often that one reviews a play one saw six years ago, but with the forthcoming National Theatre At Home streaming of the Donmar Warehouse production of Coriolanus, right now seems a strangely appropriate time to recall one of the best nights of theatre of my life.
Tim Crouch’s series of performances as overlooked characters in Shakespeare is a fascinating body of work. He has been developing these one-man shows (with assistance) for more than 15 years.
Sheffield Theatres has announced that, subject to government advice, it hopes to bring Shakespeare to Sheffield’s outdoor spaces later this year.
I’ve always found Antony and Cleopatra a bit of a slog. There, I’ve said it. Too many scenes which flit about all over the place, too many minor inconsequential characters, deaths which seem interminable.
Iris Theatre have this week cancelled their Escape To The Forest summer season and launched an urgent appeal to save the company from imminent closure.
I posed some questions to The Show Must Go Online returnees Luke Barton, Kristin Atherton, David Johnson and Lucy Aarden about their experiences with this weekly lockdown hit.
Not to let a decade of theatre bloggery go by without marking the occasion, to kick things off, I’ve compiled a list of my favourite play for each year I’ve been blogging. It has been fun revisiting my best-of lists but absolute agony narrowing each list down to just one.
There’s even a cute section where viewers are encouraged to show off their pets. It’s these moments in particular which bring a smile to your face.
This joyous and lively production, starring Tamsin Greig, is one of the best versions of Shakespeare’s comedy I’ve ever seen.
Last week was Shakespeare’s birthday, so The Show Must Go Online went all out with their latest production, holding a Titus Andronicus party in the Bard’s honour.