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.
Enter the Elephant Jazz Bar at Wilton’s Music Hall, London for the Watermill Ensemble’s coats-and-tails dive into the 1920s, where the cast of Shakespeare’s Twelfth Night serve up a delicious cocktail of prohibition-era delights and post-modern jukebox-infused comedy.
Love’s Labour’s Lost is altogether good fayre and definitely a crowd-pleaser. Michelle Terry’s tenure at The Globe continues to gallop confidently forward with this romp of a show.
A comic triumph that welcomes everyone to Messina, with some fun musical choices amongst the Shakespeare – the performances from the cast of six are vibrant and full of energy.
Anti Disposition’s Much Ado About Nothing is a visual treat that’s chock full of wit and impeccable physical comedy, not to mention the beautiful musical interludes – a glorious Shakespearean spectacle.
Claire van Kampen’s decision to eschew gimmick/concept is a bold statement in a production of Othello that generously places the focus firmly on plot and character, and pays dividends for it.
The estuary accents, Dolce & Gabbana leggings, bling and selfies are a bit of a giveaway that Fiona Laird’s production of cheeky Shakespearean comedy The Merry Wives of Windsor is geographically dubious.
Mark Rylance turns Shakespeare’s most sinister & Machiavellian of villains into a fawning clown in his wife’s disappointing and workmanlike production of Othello at The Globe.
The Donmar Warehouse has announced the full casting for artistic director Josie Rourke’s production of William Shakespeare’s Measure for Measure. Previews start from Friday 28 September 2018.
Stand-out performances in any era are often only judged so in retrospect and modern theatre offers much that will be remembered. But once in a while, you know you’re in the presence of greatness, and Ian McKellen’s King Lear will be talked about for years to come.
Shakespeare’s slight and silly comedy As You Like at the Regent’s Park Open Air Theatre is just the thing for midsummer.
So if this period of American history doesn’t potentially have a wide appeal, in the first instance, and the context is a major British loss… Why is Hamilton so popular and so relevant to Britain today?
Love London Love Culture rounds up the reviews for Blanche McIntyre’s production of The Winter’s Tale, playing at the Shakespeare’s Globe until 14 October.
A wonderfully innovative take on the classic comedy, with incredible physicality employed to assist the storytelling – some terrific performances make this very memorable indeed.
This is an enjoyable production of A Midsummer Night’s Dream for those who know the play. A light and frothy interpretation heavy on the laughs, less so on the love.
A Romeo and Juliet like no other, made all the more unpredictable with the inclusion of alcohol – you’ve not lived until you’ve seen Juliet swigging a pint at the altar!