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 […]
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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.
Christopher Luscombe’s very funny version of the Beatrice/Benedick show complete with magnificent, period set (Simon Highlett), some fabulous costumes, Nigel Hess’ delightful music and Jenny Arnold’s joyful movement. Setting the play in the post-World War 1 period works nicely; the sense of changing times is entirely appropriate. It’s a gentle but frisky time and you […]
Breen squeezes every bit of comedic possibility from the play. The repertory company, so good in the dramatic and enthralling Oppenheimer, prove to be equally skilled in the bawdy comedy department. There are sly asides, vicious insults, dirty double entendres, rowdy gags, silly accent routines, fart jokes, catch-phrase jollity, physical comedy, costume comedy, sight gags, […]