Rory Kinnear and Anne-Marie Duff star as the Macbeths in this new production directed by Rufus Norris at the National Theatre until 23 June. But what have the critics had to say about it?
Julius Caesar at the Courtyard Theatre is a muddled attempt to shock that quickly wears thin – and doesn’t seem to have anything to say.
Random and topical thoughts and quotes gathered by My Theatre Mates contributor Aleks Sierz, first published on www.sierz.co.uk.
If you’re a Shakespeare fan then there’s no reason why you shouldn’t go and judge Rufus Norris’ Macbeth for yourself, but if not then I wouldn’t rush along, as I don’t think this is the production to make you a fan.
Here at the National, as with many other attempts, the production’s vision lacks real purpose and fails to engage with the complex motivation of Macbeth himself, leaving him and us nowhere to go.
For Julius Caesar at the Bridge Theatre, Hytner has taken out the stalls seats of the new Bridge Theatre and created a promenade performance which begins, like a Trump rally, with a warm-up. It’s one of the best pre-shows I’ve ever seen.
Chichester Festival Theatre’s critically-acclaimed production of Shakespeare’s King Lear, starring Ian McKellen, will receive a West End transfer, running at the Duke of York’s Theatre for 100 performances only from 11 July to 3 November 2018.
My verdict? A bold attempt at a classic play, utilising the unique performance space well – this Macbeth at the Rose Playhouse is worth a visit, if you can keep out the cold…
From its rock fest opening to its fast and furious battle finale, Nicholas Hytner’s modern-dress Julius Caesar packs a powerful punch.
So would I go to more Shakespeare after this experience seeing Julius Caesar,? Yes, I would. More importantly, could I see myself as a regular visitor to the Bridge Theatre? That has to be an emphatic yes.
This production of Julius Caesar at the Bridge Theatre captures the audience’s attention (no matter where you sit or stand) to such great effect that the (just over) two hours passes quickly and powerfully. Well worth a visit.
It is rarely a play that moves you and so it is here, even though Nicholas Hytner’s production of Julius Caesar at the Bridge Theatre, London does provide moments of intellectual stimulus.
In Tomorrow Creeps at The Vaults writer (and GOLEM! Theatre co-founder) David Fairs has drawn his text from 16 Shakespeare works (including the sonnets) as well as a sprinkling of Kate Bush magic.
Caroline Byrne directs this new production of All’s Well That Ends Well – Shakespeare’s tale of rebellion and determination – at the Sam Wanamaker Playhouse at Shakespeare’s Globe, running until 3 March 2018. Here’s what critics thought…
It’s that time of year again: the annual VAULT Festival is upon us, and looks set to be bigger and better than ever. There’s a lot to love about what goes on at this event, with an incredible range of theatre, comedy, music and refreshments on offer every day for eight weeks.
You might be forgiven for thinking that only certain Shakespeare plays are allowed to be produced in any given 12-month period – for example, last year I saw five different Twelfth Nights, and this year there are at least three Macbeths already on my radar.
When you see around 200 different shows, you’re bound to come across a few duff ones, but I’m pleased to say that nearly all of the bad shows I saw can be found in this post.
What is personally the most galling is the programming of Twelfth Night. Emma Rice’s production was my favourite show of 2017. It almost feels like they’re trying to brush it under the carpet by putting it on again so soon.
Lots & lots of shows have their first performances in London and across the country this month, including new productions of Pinter’s The Birthday Party, Wilde’s Lady Windermere’s Fan, and Shakespeare’s All’s Well That Ends Well.
Well, we’re all still here… The big red button hasn’t been pushed yet and theatre is better than ever! But what’s coming up this year?