The Royal Shakespeare Company joins forces with BBC4 for the world premiere of A Winter’s Tale, a production intended for the 2020 stage and all but lost to theatre history.
The RSC, Young Vic and Theatre for a New Audience have a difficult but fascinating task ahead in re-creating lost work Swingin’ the Dream that honours the original while offering something new to modern audiences.
I may be woefully behind on my show write-ups, but I couldn’t not mark The Show Must Go Online coming to an end – at least until further notice.
I’ve really admired the work of Sydney Aldridge throughout the course of The Show Must Go Online, so who better to talk to about casting and her experiences with this innovative Zoom theatre project?
From Rome to the Forest of Arden, as The Show Must Go Online next tackles As You Like It.
The Greenwich Theatre production of The Secret Love Life of Ophelia showcases a selection of excellent young performers that inadvertently asks some big questions about how we cast Hamlet in the 21st century.
I’m running out of superlatives for The Show Must Go Online. Each show is exceptional, including the latest staging of Henry V, and manages to improve upon the previous week in as many ways as possible.
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.
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.
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.
Macbeth is one of Shakespeare’s most frequently performed plays, and it is a story filled with death, danger and prophesy.
Emma Rice’s version of Angela Carter’s last novel is a beautifully bizarre celebration of alternative families.
Following on from the instant success of National Theatre At Home streaming event, it’s got me thinking about all the other wonderful NT Live screenings that I’d love to come to the small screen as part of this series. I have narrowed it down to my top 10.
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.
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.
A bold production of the Scottish Play from Lazarus Theatre with a heavy focus on power and ambition – a great introduction to Macbeth and Shakespeare.
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.
Have a peek at what a modern take on Shakespeare’s drama of vengeance, commodities, appearance and reality with rehearsal images from the new production of The Merchant of Venice directed by Alex Pearson. Book your tickets now!
Shakespeare’s great drama of mercy and manipulation, The Merchant of Venice, is to receive a striking new revival by theatre companies Poetic Justice Productions and Wolf Sister Productions when it is staged at the Drayton Arms Theatre this autumn.