Mark Ludmon examines the year ahead for regional theatre in 2018. Bolton girl Maxine Peake has made her mark on TV and the London stage but she returns to her roots with her second play, Queens of the Coal Age. Based on the true story of four women in Lancashire during the miners’ strike in […]
Tag Archives | Royal Shakespeare Company
The Royal Shakespeare Company has announced the adult casting for the first five venues for the upcoming UK tour of Matilda the musical. The Matilda UK Tour will launch at the Leicester Curve on 5 March 2018 and will visit Dublin, Sunderland, Milton Keynes, Birmingham, Manchester and Cardiff in 2018. Having now played Miss Trunchbull […]
The RSC has announced full casting for Angus Jackson’s upcoming production of William Shakespeare’s Coriolanus. Presented as part of the Rome season, Coriolanus will join Julius Caesar, Antony and Cleopatra and Titus Andronicus in the company’s repertoire before transferring to London’s Barbican Theatre from 6 November 2017. As previously announced playing the title role is […]
Queen Anne offers an insightful and commendably believable depiction of the reign of one of England’s lesser known monarchs, and her complex relationship with childhood friend Sarah Churchill. Though the play takes time to get into its stride, the second Act is quite exceptional. Emma Cunniffe and Romola Garai give wonderful performances, and the play […]
Despite the downbeat ending to Love’s Labour’s Lost and the troubles over Claudio and Hero’s wedding in Much Ado About Nothing, the two plays are very funny and thoroughly entertaining, whether enjoyed singly or, ideally, seen together.
It has everything: dirty, jazzy songs sung lustily; knob jokes; fake brawls; knickers tossed to the audience; knob jokes; sex scenes of all kinds; an altercation with a garbage bin; knob jokes; liquids tossed or splurged onto the audience; dress ups; knob jokes; raunchy scene changes; prostitutes masquerading as Nuns; knob jokes; big items being […]
The role of Willy Loman is very exacting, requiring great range and subtlety from the actor. The single greatest requirement, though, is for the actor to be Loman rather than to play him; there needs to be total immersion in the character, and the character’s different stages. It must be possible to see the Loman […]
Despite a delicious design from Anna Fleischle (the black velvet floor and beautifully detailed costumes especially) and some winning, often charming, performances from Catrin Stewart, Jamie Thomas King, Andy Apollo, Colin Ryan and Matthew Needham, Dunster’s production does not establish any case for Love’s Sacrifice to be revived.