More than four centuries after William Shakespeare died in 1616, aged 52 on his own birthday (23 April), questions remain about the authorship of his prodigious output – including nearly forty plays and more than 150 sonnets.
Research proves that Christopher Marlowe not only didn’t die in 1593 at the age of 29, but that he wrote the plays that made Shakespeare famous. So says author and playwright Peter B Hodges whose Off-Broadway play on the subject, Marlowe’s Fate, is now running at London’s White Bear Theatre until 27 November. He told us more about it.
Saoirse Ronan makes her UK stage debut in Yael Farber’s testosterone-fest, which is vivid, but much too long.
Peter B Hodges’ Off-Broadway hit Marlowe’s Fate, based on the premise that Christopher Marlowe wrote the canon credited to William Shakespeare, gets its UK premiere this month at London’s White Bear Theatre, where its limited season continues until 27 November.
The intimate and interactive nature of the setting meant that we, the audience, were completely immersed in the performance of The Scottish Play.
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.