Shakespeare
David Nice
But not for long. The first ever National Theatre Live worldwide screening of a Donmar production came to a halt between great Jacobi's mad musings on archery and toasted cheese; later, pedalling back from Notting Hill against a furious wind, I guessed the reason for the blip. The weather had scuppered Lear's fate, off stage as well as on.Sitting in a packed Gate cinema, we heard a voice apologise to a presumably mortified Donmar audience (thinking about it, we guessed the actors must have been primed to expect technical glitches, and had given their consent to any potential interruptions Read more ...
james.woodall
But this comes at the expense of scale, both in characterisation - Jacobi is also simply too feathery - and in terms of space and time. We don't feel the outdoors at the Donmar, ever see and hear boorish Lear's knights, properly sense the passage of years from Cordelia's banishment to her return, or suffer the weight of battle.It would be wrong to call David Farr's Royal Shakespeare Company production a corrective, as it predates Grandage's, though it's brand-new at the Roundhouse and more faithful to the text. The space is perfect for it, too: high, resonant, dilapidated in places, gloomily Read more ...
David Nice
Even at the time it seemed a little strange: the visionary Kathryn Hunter as an oddball Cleopatra in a production that hardly seemed up to the mark either of her performing standards or of her own fabulous Shakespeare staging, a Pericles which was one of the two best things I've ever seen at the Globe.But she'd been through a good few Antony and Cleopatras before she dropped the bomb yesterday that she was withdrawing from Michael Boyd's long-term company, of which she has been an "artistic associate" since 2008.
The press statement is brief and enigmatic. Boyd's and Hunter's "joint" Read more ...
sheila.johnston
Set at a pivotal point in Shakespeare's canon, Twelfth Night is a glass-half-full kind of play. Is it a joyous, clear-eyed, compassionate comedy of human foibles by a writer reaching maturity, a wild and crazy ride through a season of carnival misrule and role reversal? Or, on the other hand, an ominous harbinger of the troubling, darkening work still to come? It will come as no great surprise that this production, directed by Peter Hall who turned 80 in November, inclines to the latter view and the play's repeated references to the fleetingness of youth, love and life itself blast across Read more ...
alexandra.coghlan
“Now go we in content. To liberty and not to banishment.” A touchstone to productions of As You Like It, Celia’s wishful recasting of the Forest of Arden can rarely pass unchallenged by directors. In 2009 we saw Michael Boyd’s RSC production go head to head with Thea Sharrock’s unexpected and beguilingly sunny interpretation at the Globe – a contest in which Sharrock proved a comfortable victor. Returning once again with his conventionally darker-hued take on Shakespeare’s comedy, the question was always going to be whether Boyd could grasp the authority that so slimly eluded him last time. Read more ...
alexandra.coghlan
Problematic in performance in a way that the “problem plays” simply aren’t, Shakespeare’s Roman plays remain some of his hardest to stage satisfactorily. Updated versions too often turn into Magritte-esque fantasies of identikit, suited politicos, while the togas of more traditional approaches can feel absurd, unavoidably laden with satiric or Hollywood associations. Courting rather than rejecting evocations of the latter, Lucy Bailey’s 2009 Julius Caesar for the RSC brings cinematic scope and contemporary gore to its treachery, demanding that its audience lend not only ears, but eyes, Read more ...
David Nice
Busy, busy, busy tends to have been the watchword of Rudolf Nureyev’s elaborate choreographies. Prokofiev, as the most direct of musical dramatists, demanded streamlining from Sergey Radlov’s complicated scenario in 1935, but Nureyev tends to have jammed extra plotlines back in with un-Shakespearean knobs on. Thank heavens Patricia Ruanne, his Juliet for the initial four-week run back in 1977, and his first Tybalt, Frédéric Jahn, have returned to work so hard on the staging's fiddly bits as to make most of this accomplished revival seem like easy storytelling.Some of it has never served the Read more ...
Ismene Brown
The Royal Shakespeare Company celebrates its 50th birthday season with the grand reopening of its transformed Royal Shakespeare Theatre at a cost of £112.8 million. The temporary Courtyard Theatre folds curtains on the sold-out smash hit that is Matilda, awaiting one last flourish in the Olympics Shakespeare Festival next year before its intended demolition. New productions of Macbeth, King Lear and Romeo and Juliet inaugurate the revamped RST, while London operations transfer from the Roundhouse to Hampstead Theatre for the premieres of three new plays. The season is capped with a six-week Read more ...
Ismene Brown
The Donmar Warehouse's 2011 season listings take audiences, as so often, in unpredictable directions, from the farcical tensions of American competitive spelling to the high tragedy of 18th-century Schiller. Full season guide below.King Lear, William Shakespeare, 3 Dec-5 Feb, 2011Derek Jacobi has long had his eye on the title role of King Lear and finally gets to play it under the direction of Michael Grandage, with whom he has worked profitably in Don Carlos and Twelfth Night. Read theartsdesk's Q&A with actor Derek Jacobi.The 25th Annual Putnam County Spelling Bee, William Finn/Rachel Read more ...
Ismene Brown
The National Theatre's 2011 season listings offer double Shakespeare rations in an eclectic schedule: as Nicholas Hytner's unfussy, modern Hamlet goes on tour round the UK with an authoritative Rory Kinnear as the Prince, a new Twelfth Night by octogenarian Sir Peter Hall stars his daughter. Two scientific men go astray - Mary Shelley's monster creator Dr Frankenstein, who hits the boards under the direction of Danny Boyle, a stage talent poached for film stardom, and the drab dentist in Clifford Odets's 1938 drama, Rocket to the Moon. New plays about Israel and its effect on London Jews (by Read more ...
Matt Wolf
One expects Shakespeare to be rediscovered afresh on the British stage (if not here, where?), and it was gratifying during 2010 to find the Royal Court - a venue all about the new - raising the authorial bar ever higher via an (almost) unbroken series of triumphs culminating, for me, with E V Crowe's Kin. So there's something both remarkable and endearing about a theatre year that was book-ended by musicals putting two astonishing females centre stage: a Harvard hopeful by the name of Elle Woods in Legally Blonde and a brainy wee tyke, Roald Dahl's Matilda, for whom one feels the Ivy League Read more ...
carole.woddis
Seems we’re living through a silly season. There are rumours afoot that our PM’s Big Society is nothing other than a fig leaf for a chaos theory of how to run society, ie let the devil take the hindmost. And in the arts we’ve got theatre’s esteemed trade paper declaring, in a much-publicised puff - organised through a star-studded panel of the Great and the Good and “hundreds of readers voting from a list of 10 actors” - that Dame Judi Dench is The Greatest Stage Actor of all time.Well, good on The Stage. Nothing like stirring up debate to draw attention to yourself, and heaven knows Read more ...