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.
It feels slightly odd that my final show before the curtains came down wasn’t a play or musical – instead, it was a dance show.
‘We’ the audience help with sound effects or stand-in for mysterious creatures or provide props but if you don’t want to get involved it is easy to ‘sit out’ and just watch. The interaction is fun.
Macbeth is one of Shakespeare’s most frequently performed plays, and it is a story filled with death, danger and prophesy.
We chatted to the actor about his project The Show Must Go Online, which weekly presents a Shakespeare play for online audiences.
After the popularity of its lockdown streamings of One Man, Two Guvnors, Jane Eyre, Treasure Island and tonight’s Twelfth Night to coincide with Shakespeare’s Birthday (23 April 2020), the National Theatre has announced its next two At Home titles: Danny Boyle’s 2011 monster hit Frankenstein and Simon Godwin’s production of Shakespeare’s Antony & Cleopatra.