Staging one of Shakespeare’s most well-known plays is always a dilemma: play it straight or attempt to reinvent? This youth theatre production mostly keeps it simple, allowing some great performances to take centre stage.
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Part of a double run with Twelfth Night, this Watermill Theatre production offers a similarly musical take on the well-known Shakespeare texts, bringing songs and choreographed, physical theatre to the fore.
Explore MoreWho would have thought Shakespeare could work so well in a broad Norfolk accent?
Explore More“If you prick us, do we not bleed?” famously asks Shylock in Shakespeare’s Merchant of Venice. The question for Propeller’s abridged version of that play is slightly different: if you strip out two-thirds of the text, is it still the same play?
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The recently exhumed and re-buried body of Richard III, together with the 450th anniversary of Shakespeare’s birth, has given new topicality to this particularly bloodthirsty Bard’s play.
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Kings are used to being centre stage but Shakespeare’s Henry IV never really gets that chance – and this RSC production of Part I of the Bard’s epic tale doesn’t upset that.
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The lips as breath’s doors is just one of the startling images in Shakespeare’s greatest love story, and the song and speeches of the Lord Chamberlain’s Men bring the tale of Romeo and Juliet vividly to life.
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This Royal Shakespeare Company production of Julius Caesar transports the drama to Africa, in an attempt to emphasise the tribal and fractious nature of the play.
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Shakespeare’s play of star-crossed lovers is one of unfortunate timing as much as anything else: for the Icarus Theatre Collective hitting town at the same time as the RSC makes for some unhappy comparisons.
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It’s one of Shakespeare’s best-loved plays, a timeless story of tragic love. Moscow City Ballet’s performance of Romeo and Juliet is robbed of the famous poetry, substituting for it Prokofiev’s score and Victor Smirnov-Golovanov’s skilful direction and choreography.
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Shakespeare’s plays are often crudely divided between comedies and tragedies; the director of this latest production of Twelfth Night clearly didn’t get that memo.
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A long-lost Shakespeare play or a false claim on the Bard’s name?
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