“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 .
‘Ninety minutes of pure joy’: TWELFTH NIGHT – Southwark Playhouse ★★★★
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 cried when I first read The Unknown Soldier’: Michelle Yim tells us about directing the acclaimed First World War drama.
‘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.
INTERVIEW: How did Michael Gove inspire acclaimed WWI drama The Unknown Soldier? Playwright Ross Ericson tells us.
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.
‘Felt that I was trapped in a theatrical microwave oven’: THE TRAGEDY OF KING RICHARD THE SECOND – Almeida Theatre
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.
NEWS: Edinburgh hit The Unknown Soldier receives London premiere at the Playground Theatre
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.
‘The play comes back, timeless and terrifying’: MACBETH – Sam Wanamaker Playhouse ★★★★
Here in Robert Hastie’s careful production of Macbeth is all the horror, psychological acuity and profound, terrified morality of Shakespeare’s darkest play.
Are we in the middle of a golden age of Shakespeare productions?
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.
‘Full of purpose & great storytelling’: MACBETH – Touring ★★★★★
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 joyous a marker of future intent as you could wish for’: TWELFTH NIGHT – Young Vic ★★★★
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.
‘Unfunny echo of today’s sexual & social injustices’: MEASURE FOR MEASURE – Donmar Warehouse ★★★
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.
‘A daring endeavour that is richly rewarding’: MEASURE FOR MEASURE – Donmar Warehouse
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.
REVIEW ROUND-UP: Twelfth Night at the Young Vic Theatre
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….
‘Delivers on so much of its promise’: Antony & Cleopatra – National Theatre
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.
‘Will delight Bard-fanatics and newcomers alike’: TWELFTH NIGHT – Wilton’s Music Hall ★★★★
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.
‘Altogether good fayre & definitely a crowd-pleaser’: LOVE’S LABOUR’S LOST – Shakespeare’s Globe ★★★★
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.
‘Another comic triumph’: MUCH ADO ABOUT NOTHING – Touring ★★★★★
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.
‘Full of wit & impeccable physical comedy’: MUCH ADO ABOUT NOTHING – Gray’s Inn Hall ★★★★
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.
‘Generously places the focus firmly on plot and character’: OTHELLO – Shakespeare’s Globe
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.
‘It’s a right royal carry on’: THE MERRY WIVES OF WINDSOR – Royal Shakespeare Theatre, Stratford upon Avon ★★★
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.