This is Shakespeare light. Very light. Antic Disposition’s presentation of Shakespeare’s 1598 comedy is aimed at touring in South West France during the summer months when Paris empties and the French take to the countryside.
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Writer, philosopher and English aristocrat Margaret Cavendish (1623-1673) was way ahead of her time and she knew it, writing: “I regard not so much the present but future ages”.
I Am Of Ireland is an epic piece of theatre rooted in Irish identity, politics and history. It journeys from The Troubles to The Good Friday Peace Agreement and on to today.
With a new version of The Cherry Orchard transposed to the time of the 1917 Russian revolution, director Phil Wilmott’s aim was to reflect “our current edgy relationship with Russia,” he tells us in his notes.
Women bosses who bully their ambitious young rivals are one aspect of female careerism that is under-explored. Bella Barlow and A.C. Smith at least start to redress the balance with a miniature musical played out underneath Waterloo’s railway arches as part of London’s vibrant Vault festival.
When Christopher Marlowe wrote Doctor Faustus at the end of the 16th century, he was already drawing on German accounts of a medieval legend with eternal and universal reach. Two centuries later, the epic struggle of good and evil was translated back into German in Goethe’s towering tragedy.
Isabel Dixon of Burn Bright Theatre has dramatised Mary Shelley’s Frankenstein two hundred years after its first publication, with two women as its protagonists, Elizabeth Frankenstein and the creature, played by Danielle Winter and Elizabeth Schenk.
Lanie Robertson’s fine one-woman play on Peggy Guggenheim is a feast for intelligent audiences wanting to celebrate Guggenheim’s extraordinary life.
A deft revival in the play’s centenary year is a welcome chance to shed fresh light on Barrie’s fixation with the mismatch between the human potential and idealism represented by a child and the failed adult mess all around us.
This is a brave production by Hannah Chissick as Brecht’s epic drama is meant for the large scale and, squeezing such a huge concept in to the Southwark Playhouse, takes guts.
In a post-factual world of discredited journalism and politicians who, more than ever, we do not believe, theatre with its direct emotional truth can provide a much-needed release.
Ovid’s Metamorphoses comprise nearly 12,000 lines and over 250 myths that have inspired more modern writers as great as Shakespeare and Dante.
By Barbara Lewis • plays, theatre, year 2018 • Tags: Barbara Lewis, plays, theatre