Carnival reaches Southwark in this vibrant new A Midsummer Night’s Dream, with a lively cast &and colourful designs – and don’t get comfortable if you’re a groundling.
A fresh perspective on the classic Henry V, concluding Hal’s journey from errant prince to conquering king – an action-packed end to the trilogy.
Henry IV Part 1 is a fast-paced, fun production that speaks to our politically unstable times – a great way to start the new season.
Closing Phil Willmott’s ‘Enemies of the People’ 2019 Essential Classics season is Shakespeare’s classic Othello, marking the centenary of the Jallianwala Bagh massacre, with events set in the British Raj.
Triumphant, if crude, the West End transfer of Emilia is a heartfelt account of a Renaissance woman who has been hidden from history.
Lazarus Theatre’s The Tempest is a dynamic production of a potentially tedious play, bound together in a stark & bold design – Alexander da Fonseca gives a standout performance.
“Magnificent”, “Unmissable” and “Masterful” – since their premiere’s Ross Ericson’s one-man shows The Unknown Soldier and Gratiano have been showered with praise and stars. Take a look at these reviews from performances at the Edinburgh, Brighton and Adelaide Fringe Festivals, then book your tickets .
Anna Girvan’s music festival themed production of Twelfth Night has plenty of nice elements to it – but can get carried away with itself at times.
‘I was quite ignorant about WW1’s history.’ It’s a big admission to make from Michelle Yim, who directs Ross Ericson’s hit one-man drama The Unknown Soldier, which is set in the aftermath of the First World War. Find out what Yim learned, and what it’s like to direct the show’s playwright, in our interview.
Never underestimate the importance of coincidence in life. If Michael Gove hadn’t made a comment about the First World War, acclaimed drama The Unknown Soldier may never have been written.
Borrowing a technique from American long-form TV drama, The Tragedy of King Richard The Second begins in medias res. The wonderful Simon Russell Beale steps forward, ashen-faced, to deliver the “I have been studying how I may compare/This prison where I live unto the world” speech from Act 5.
After selling out at the Edinburgh Fringe in 2016 and touring the UK and to Australia, Ross Ericson’s First World War drama The Unknown Soldier will premiere in London in early 2019.
Here in Robert Hastie’s careful production of Macbeth is all the horror, psychological acuity and profound, terrified morality of Shakespeare’s darkest play.
So what can be done to make Shakespeare less boring, or prove that Shakespeare isn’t boring (depending on how you look at it)? It does feel to me that we’re in the middle of a golden age of Shakespeare productions.
Something wicked this way comes…” It’s Merely Theatre, as the company tours its brand new production of the Scottish Play in rep with Much Ado About Nothing.
As opening statements go, Kwame Kwei-Armah’s musical adaptation of Shakespeare’s Twelfth Night, imported from New York’s Public Theater is probably as joyous a marker of future intent as you could wish for.
There’s every reason why Josie Rourke should have chosen Measure for Measure to direct in her final season as the Donmar’s artistic director. Anyone with half an ear to public events in the arena of gender relations and abuse of power in the past two years would recognise its extraordinary pertinence.
In a year of revelations about the abuse of power and sexual misconduct, the timing couldn’t be better for Measure for Measure at the Donmar Warehouse, an intriguing tale of blackmail, morality and duty.
This musical adaptation of Twelfth Night features music and lyrics by Shaina Taub and is directed by Kwame Kwei-Armah and Oskar Eustis. Love London Love Culture rounds up the reviews….
After a genuinely exhilarating Julius Caesar at the Bridge Theatre a few months ago, Shakespeare’s subsequent tale Antony and Cleopatra has arrived at the National starring Ralph Fiennes and Sophie Okonedo.