Shakespeare
Matt Wolf
Can you go home again? That's the question that will be hanging over the Royal Shakespeare Company's first residency at the Roundhouse since their "History Play" cycle stormed north London over two years ago, reminding those lucky enough to catch it of the loss to the capital ever since the RSC opted out of a London base of operations. Now that they have one - this current 10-week season of eight plays initials an ongoing collaboration with the Camden Town venue - the more pressing interest pertains to the work, especially given the frequency with which the Donmar and National (not to mention Read more ...
theartsdesk
The relationship between stage and screen has always been fraught with antagonism and suspicion. One working in two dimensions, the other in three, they don't speak the same visual language. But recent events have helped to eat away at the status quo. On the one hand, theatre has grown increasingly intrigued by the design properties of film. Flat screens have popped up all over the place, notably in Katie Mitchell’s National shows and at the more ambitious work of the ENO. Meanwhile, theatre and opera have been encouraging those who, for reasons of distance or price, can’t make it to Read more ...
igor.toronyilalic
We sophisticates aren't really meant to enjoy Gounod. His simple 19th-century brew - five parts sentimentality, one part religiosity - isn't supposed to wash with modern palettes that crave layers of meaning, irony and social context. The ENO's solution last month was to present a version of Gounod's Faust that had these elements filled in. It flopped. But if the ENO had taken Gounod too far, was the Royal Opera House taking Gounod's Roméo et Juliette not far enough last night by relying on a 16-year-old production, a Romeo that fluffed his Rodolfo here last year and a debuting Georgian Read more ...
Ismene Brown
Those teenage lovers Romeo and Juliet will be dying nightly on a stage near you in various guises for much of the autumn - not as Shakespeare’s play, but as ballets and operas based on it. Next week both Birmingham Royal Ballet and English National Ballet field two of the more famous versions on their autumn tours, while at the end of the month the Royal Opera stages a rare revival of Gounod’s opera.Shakespeare’s play was premiered in 1596 - not until 1776 did the first opera on it emerge, Romeo und Julie by Georg Benda, a near-contemporary of Haydn and Kapelmeister to the Duke of Gotha who Read more ...
james.woodall
The National Theatre’s new production of Hamlet is both a very good Hamlet, yet also a somehow disappointing one. For a work so rich in possibilities, with so much emotion, so much superb and intricate engineering, it is often like this, in England or anywhere else - inspiring and unconvincing at once.Of few works in drama can this be said, or, as it were, permitted. For Hamlet, every allowance can and should be made. The most galvanising one I’ve seen also happened to be at the National (in the Lyttelton), 23 years ago: in Ingmar Bergman’s guest Swedish-language staging, Hamlet was a punk - Read more ...
Ismene Brown
Nico Muhly at the piano, Stephen Petronio in a false beard, a storm-at-sea theme derived from The Tempest - how hip is that? I Drink the Air Before Me, a new work for the Stephen Petronio Company as the opening night of this year’s Dance Umbrella (the annual international modern dance fest that packs London’s venues for the month), had promise. The young composer delivered, the theme had its moments, but the picture above is a fiction - it’s a wish-list, as so many publicity stills for dance are, fine tailfeathers for dull birds. A couple of hours later I grope for my notebook to remember the Read more ...
graeme.thomson
Simon Callow is on the phone when I arrive at his five-star digs, booming his apparently considerable misgivings vis-a-vis appearing in some reality TV exercise in which he will be asked to tutor disadvantaged kids in the mysterious arts of Shakespeare. “They keep saying it will be great”, he rumbles, “but it will only be great if it’s great.” And Amen to that.All voice, gesture and bustle, Callow (b 1949) couldn’t really be anything other than a certain kind of actor. Indeed, if you could bottle the quite extraordinary way in which he wraps lips, tongue and molars around the phrase “post hoc Read more ...
David Nice
Forget Dan Brown’s phony grail trail which has led so many paying pilgrims to Rosslyn outside Edinburgh. For the last week of the Festival Fringe the Chapel, most intricate and mysterious of 15th-century sanctuaries, has become a temple of high art dedicated to Mozart, Shakespeare and Britten. Ambitious indeed of a bunch of Cambridge undergrads and alumni to mount The Magic Flute and the operatic Midsummer Night’s Dream side by side. Did they pull it off? Just, in the case of the Britten, which is saying something given a score which is... well, again, intricate and mysterious are the Read more ...
Matt Wolf
A genuine, if unanticipated, phenomenon has emerged over time at Shakespeare's Globe, the Bardic-themed playhouse that these days is full more often than not and with good reason, too. Time was when the canon's lesser-known offerings could be counted on to play to not much more than a devoted few. Well, no more. The same summer that has seen so commercially dubious a piece of esoterica as Henry VIII packing them in is now hosting a return engagement of the director Christopher Luscombe's 2008 staging of The Merry Wives of Windsor, a comedy often derided as cut-rate Shakespeare that sells Sir Read more ...
theartsdesk
The premise of Jonathan Bate’s one-man play, directed by Tom Cairns, is simple but surprisingly effective: a trawl through the seven ages of Shakespeare, from babe to box, told through a mixture of biographical narrative illuminated by relevant scenes from Will’s work.Shakespeare – The Man From Stratford, Assembly Hall ****The aim is to fathom how a boy from an archetypal English market town became the world’s most celebrated wordsmith. We see how his life and work entwined; how the rhetoric and wordplay he learned in the schoolroom grounded him in the language of power and politics; how the Read more ...
Jasper Rees
“It isn’t a surprise to me, but it is a surprise to him that it isn’t a surprise to me.” On a Monday morning in the rehearsal room at Shakespeare’s Globe, actors and actresses are getting into character. “You’re acting panic,” clarifies the director, “and when you hear his voice it’s real panic.” Exactly how funny is The Merry Wives of Windsor in the 21st century?On the evidence of the Shakespeare’s Globe production, which opened two summers ago to huge acclaim and audiences to match (pictured below), very funny indeed. It is now returning to the Globe before heading off around the globe in Read more ...
