We’re huge fans of Shakespeare here at Sitting In The Cheap Seats and there are few things better than the Bard’s work, done well, in the open air at Shakespeare’s Globe. In her inaugural season as Artistic Director Michelle Terry brings us some old favourites, a couple of interesting choices and a trio of new plays. Read on to find out all about the new season! Continue reading
Sope Dirisu as Caius Martius
Angus Jackson bookends the Royal Shakespeare Company’s Rome season, his traditional dress Julius Caesar having opened it he now caps it off with a modern set Coriolanus. If the latter is the least well known of Shakespeare’s Roman plays its central theme – dissent of the masses against an ignorant ruling class – is surely as pertinent as any of the Bard’s work in the current climate. Continue reading
Ian McKellen as Lear with Phil Daniels as the Fool and Sinead Cusack as Kent.
Way back in the early days of Sitting In The Cheap Seats we had our first opportunity to review a Shakespeare play. In Chichester Festival Theatre’s cosy Minerva space we saw Frank Langella lead a great cast and firmly add to our love of the Bard! Fast forward a few years and we’re back at the Minerva, once again awaiting an award winning actor to take on arguably the finest of roles! Continue reading
It’s somehow fitting that the last Shakespeare of Emma Rice’s final (summer) season is King Lear. A play that shows us how the established world can change based on one rash decision will certainly have some resonance at a venue who made the decision to terminate Rice’s employment as Artistic Director so early on. Continue reading
Josette Simon and Antony Byrne.
Photo by Helen Maybanks
After the heated political tension of Julius Caesar, the Royal Shakespeare Company’s Rome season continues with a foray into Egypt for Antony & Cleopatra. The mood here is, initially at least, much lighter than the previous visit to Mark Antony but there are still tensions in Rome! Continue reading
Andrew Woodall as Caesar.
photo by Helen Maybanks
It’s an accepted cliché that, whatever the prevailing political mood there is a Shakespeare play that adequately reflects, comments on or holds a mirror up to it. Like all the best clichés it has become so ingrained in the consciousness of theatregoers because it is largely true. Thus at a time when we worry about the power of world leaders like Trump and the ability of political parties with extremist views to gain momentum Julius Caesar seems incredibly apt. Continue reading
There’s no better way to kick the post-Christmas blues than an early January trip to the theatre, so this year we decided to go an extra step and head to Stratford upon Avon for a short break. Of course, when you’re in Stratford you’d be mad to miss a trip to the Royal Shakespeare Company so we booked well in advance to see The Tempest. Continue reading
Photo by Ellie Kurttz (c) RSC
For many actors Lear is the ultimate role, hence the proliferation of productions that appear every year. In 2016 alone we’ve had Timothy West, Don Warrington and Michael Pennington all pop up in the role and Glenda Jackson is currently giving us a female perspective over at the Old Vic. RSC stalwart Antony Sher’s take on the role has been something we’ve been waiting a few years for… so how does he do? Continue reading
the company of Much Ado About Nothing
There’s something special about seeing a Shakespeare play for the first time – so the chance to see two, on the same day and in linked productions couldn’t be missed. A couple of years ago the Royal Shakespeare Company paired Love’s Labours Lost with Much Ado About Nothing (renamed Love’s Labours Won) in a gorgeous setting amidst the Great War to much acclaim. This year they’ve revived the production, with many of the original cast and have brought it to Chichester Festival Theatre. Continue reading
Photo: Tristram Kenton
Cymbeline has long been regarded as perhaps the most challenging of Shakespeare’s “problem plays”, a hodge-podge of plots thrown together without any consistency of tone or style – it’s almost like a series of sketches more than a coherent play. It’s normally best presented as comedy or fairy tale, but this gritty new production decides to dwell in the earthiness of the character’s relationships. Continue reading