tue 26/03/2019

Globe

Emilia, Vaudeville Theatre review - shouting for change

Emilia Bassano Lanier is not a household name. But maybe she should be. Born in 1569, she was one of the first women in England to publish a book of poetry. And she was also a religious thinker, a feminist and the founder of a school for girls. Oh,...

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Ralegh: the Treason Trial, Sam Wanamaker Playhouse review - gripping verbatim court case

Forget the cloak in the puddle. Never mind potatoes and tobacco. The children's book cliché of Sir Walter Raleigh (or Ralegh as he seems to have preferred in an age of changeable spelling) represents little of the real man and is at best misleading...

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Macbeth, Shakespeare's Globe review - sexually-charged production draws power from the shadows

Macbeth has rarely seemed quite as metrosexual as in this gorgeous shadow-painted production that marks Globe artistic director Michelle Terry’s first production in the Sam Wanamaker theatre. Even in a play that walks the tightrope between its...

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Robert Hastie: 'a seam of love runs through the play' - interview

Robert Hastie is a little late for our meeting. Directing Shakespeare's darkest tragedy in London while also running Sheffield Theatres must sometimes cause a logjam of simultaneous demands, but whatever the morning's problem in the north of England...

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Eyam, Shakespeare's Globe review - plague drama, dark and loose

The end-of-season contemporary writing slot at the Globe must be a proposal as full of promise for playwrights as it is perhaps intimidating. There’s the sheer scale of the space and the chance to write for a large cast; a historical subject seems...

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Love's Labour's Lost, Sam Wanamaker Playhouse review - in praise of a fantastical Spaniard

If ever there was a play of “well bandied” words, it’s surely Love’s Labour’s Lost. The early Shakespearean comedy may once have hit a highpoint for verbal wit, but much of that context – the word play, the allusions, the sheer stylistic preening...

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Emilia, Shakespeare's Globe review - polemic disguised as a play

It feels like Michelle Terry’s first summer season at the Globe has been building up to Emilia for a while now. The theme is Shakespeare and race, so Othello was something of a given. It's joined by The Winter’s Tale, as if the Emilias of these two...

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Othello, Shakespeare's Globe review - André Holland shines, Mark Rylance pursues laughs

Claire van Kampen has a history of providing roles for her husband, Mark Rylance. He starred in her critically acclaimed Farinelli and the King three years ago, and now she directs him as Iago in the Globe's production of Othello, with Moonlight...

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The Winter's Tale, Shakespeare's Globe review - a chilly tale for a time of austerity

“A sad tale’s best for winter,” Leontes’ young son Mamillius tells us. By that logic the current summer heatwave should be bringing us a Winter’s Tale overflowing with joy – the songs of Bohemia drowning out the shouted accusations and desperate...

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The Two Noble Kinsmen, Shakespeare's Globe review - a breezy bromance served up slight

Those who find the Bard tough going – wasn't that one of Emma Rice's admissions back in the day? – should beat a path to The Two Noble Kinsmen, a late-career collaboration with John Fletcher that emerges as Shakespeare lite. Remembered (dimly) as...

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As You Like It / Hamlet, Shakespeare’s Globe review - ensemble emphasis sets a leaner style

There’s a distinct feeling of back to basics to this opening double bill at the Globe under the theatre’s new Artistic Director Michelle Terry. The elaborations (some would say gimmickry) of Emma Rice’s short tenure have been reined back, and a new...

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Vivaldi's The Four Seasons: A Reimagining, Sam Wanamaker Playhouse review - a gentle exploration of life, love and death

Vivaldi’s The Four Seasons: A Reimagining – it’s not a title that trips off the tongue. Nor one, frankly, that inspires much excitement, with its clunky functionality and on-trend buzzword. But set that aside and buy a ticket immediately, because...

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