tue 12/12/2017

Shakespeare

Falstaff, RLPO, Petrenko, Liverpool Philharmonic Hall review - Bryn Terfel leads a merry dance

Even seemingly immortal singers grow old. Sir Bryn is closer to the "Martinmas summer" of Shakespeare's and Verdi's Sir John than when first he put on the fat suit at the Royal Opera 18 years ago. Even if he walks the gouty walk that matches the...

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Coriolanus, Barbican review - great, late Shakespeare compels but doesn't stun

Coriolanus is post-tragic. It never horrifies like Macbeth or appals like King Lear, though its self-damaging protagonist is disconcerting enough. Shakespeare had written the signature dark dramas by 1606, including the most magnificent of the four...

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Extract: Peter Brook - Tip of the Tongue: Reflections on Language and Meaning

A long time ago when I was very young, a voice hidden deep within me whispered, "Don’t take anything for granted. Go and see for yourself." This little nagging murmur has led me to so many journeys, so many explorations, trying to live together...

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Richard III review - Temple Church venue is the star of the show

Temple Church gained worldwide fame when Dan Brown included a major plot point there in his mega-selling novel The Da Vinci Code in 2003, but it has been standing, minding its own business, since the late 12th century. Now it’s home for a short run...

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King Lear, Shakespeare's Globe - Nancy Meckler's Globe debut is unusually subdued

Every play is a Brexit play. This much we have learnt in the year since the referendum. But in Nancy Meckler’s hands the Globe’s new King Lear becomes the Brexit play – an unpicking of intergenerational responsibility and difference, of philosophies...

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Much Ado About Nothing, Shakespeare's Globe review - swaggering Shakespeare with a comic Spanish accent

When I say that Matthew Dunster’s Much Ado is revolutionary I’m not talking about the many textual updatings and rewritings, not the lashings of PJ Harvey, nor even the gunfire – weaponised punchlines that cut through the colour and noise of the...

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The Tempest, Barbican Theatre review - sound and fury at the expense of sense

Can The Tempest open on stage without a tempest – of crashing, shrieking and torment – and thus without what can become five minutes-plus of inaudibility? In Gregory Doran’s 2016 Stratford production for the RSC, revived at the Barbican Theatre...

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Hamlet, Harold Pinter Theatre review - dislocatingly fresh makeover

Midway through Hamlet a troupe of actors arrives at Elsinore. Coaching them for his own ends, the prince turns director, delivering an impassioned critique: “O! it offends me to the soul to hear a robustious, periwig-pated fellow tear a passion to...

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Hamlet, Glyndebourne review - integrity if not genius in Brett Dean's score

Nature’s germens tumble all together rather readily in more recent operatic Shakespeare. Following the overblown storm before the storm of Reimann’s Lear and the premature angst of Ryan Wigglesworth’s The Winter’s Tale, what's rotten in the state of...

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'The challenge is to make something of not very much': Iestyn Davies on Britten's Oberon

Tomorrow Britten’s opera A Midsummer Night’s Dream will begin a short run at the Snape Maltings, Suffolk in a new production directed by Netia Jones and conducted by Ryan Wigglesworth. It will mark the high point of the Aldeburgh Festival’s summer...

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Twelfth Night, Shakespeare's Globe review - Emma Rice goes out with a bang

The Globe’s artistic director Emma Rice has made no secret of her desire to go out with a bang, in this, the final season of her brutally truncated tenure at the company. With this Twelfth Night she stages a departure with bells (and whistles, and...

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Richard III review - Greg Hicks gruesomely impressive as power-crazed ruler

There may never have been a time when Shakespeare’s Richard III did not have contemporary relevance, but surely never more than it does right now. And it’s to the credit of director Mehmet Ergen that this production doesn’t go to town on it, but...

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