Alex as Orlando in the RSC’s ‘As You Like It’
It probably won’t come as a surprise to any regular reader that I always get excited about the new Royal Shakespeare Company season and I’ve been particularly looking forward to them attacking Shakespeare’s Roman plays.
Despite the season not starting until March I’ve been hungry for information on what to expect. Thankfully Alex Waldmann was kind enough to give me – and you – an idea of what to expect! Alex is a veteran of the RSC and of Shakespeare productions in general so it was fascinating to get his insight… grab a cup of tea and settle in, this is a cracking read! Continue reading
Like most of Shakespeare’s tragedies Macbeth works best when viewed on the strength of the relationships between its characters. Sure the blood and guts murders are ways to get bum on seats but even with a literal thunderstorm overhead foreshadowing the tumultuous effects of Macbeth’s actions it all boils down to a marriage made strong by the pursuit of power. 
Anarchy!
Shakespeare’s Globe’s Wonder Season is in full swing on Bankside, with the theatre becoming more and more of a fantasy world. I have to confess that The Taming Of The Shrew would not have been one of the plays I’d have picked for such a whimsical programme, but this production has a magic of its own! 
Full casting has been announced for the West End transfer of Jessica Swale’s new play Nell Gwynn, directed by Christopher Luscombe. The production stars Gemma Arterton in the title role, with the full cast including Paige Carter, Michele Dotrice, Matthew Durkan, Michael Garner, Greg Haiste, George Jennings, Ellie Leah, Peter McGovern, David Rintoul, Anneika Rose, Nicholas Shaw, David Sturzaker, Jay Taylor, Sasha Waddell and Sarah Woodward. 
Richard II is one of Shakespeare’s great treats and, for this writer at least, contains some of his most beautiful writing as well as one of the more fascinating storylines in the canon. Somehow though, this is my first experience of seeing it performed live. I’ll confess to having trouble picturing Charles Edwards as Richard. I’ve always enjoyed Edwards’ work but this is a little bit different to his recent roles. 
Measure For Measure is one of Shakespeare’s problematic plays, a comedy that can be difficult to come to terms with for modern audiences. The mix of bawdy banter and religious fervour is a heady one and Dominic Dromgoole, in his last directorial outing as Artistic Director of Shakespeare’s Globe, gives both sides of the argument equal time.
Recent Comments