Peter Kirwan
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Love’s Labour’s Lost (RSC/Live from Stratford) @ The Broadway Cinema, Nottingham
February 14, 2015
The pairing of Love’s Labour’s Lost with Much Ado about Nothing in the RSC’s current season has caused no small amount of comment. The controversial retitling of the latter play as Love’s Labour’s Won is a publicity stunt although not without merit – the implication that the two plays are narrative sequels is bunk, but …
Propelling Edward III (Propeller) @ Wimbledon College of Arts
February 4, 2015
I was privileged this weekend to take part in an experimental two-day event at Wimbledon College of Arts with Propeller, a company on whom I’ve been working for some time (as well as providing talks for at Nottingham Theatre Royal). The event was designed as a collaborative venture between practice and research as part of …
The Changeling (Shakespeare’s Globe) @ The Sam Wanamaker Playhouse
January 22, 2015
Note: This review is based on a preview performance. The Sam Wanamaker Playhouse, as with its more established counterpart, works much better for comedy than tragedy, in my eyes at least. The one outstanding success of the theatre so far has been its side-splitting The Knight of the Burning Pestle, but even in its tragedies …
‘Tis Pity She’s a Whore (Shakespeare’s Globe) @ The Sam Wanamaker Playhouse
December 6, 2014
The 2014 winter season at the Sam Wanamaker Playhouse brings together a range of plays that exemplify what Susan Bennett and others refer to as the ‘Jacobean’ – less a specific historical period and more an aesthetic established as oppositional to Shakespeare, foregrounding sex, violence and abandon. This aesthetic usually updates the setting and cultural …
Measure for Measure (Cheek by Jowl) @ The Pushkin Theatre, Moscow
November 24, 2014
At a hair under two hours long, Declan Donnellan and Nick Ormerod’s Measure for Measure stripped the play back to its bare bones. Elbow’s subplot was gone, Pompey’s tenure as hangman reduced to a few fragmented lines, Lucio’s relationship with the disguised Duke barely alluded to. In place of the intersecting subplots, Donnellan’s direction asserted …
Ubu Roi (Cheek by Jowl) @ Theatre of Nations, Moscow
November 23, 2014
Normally I would not be writing about a production of a Jarry play on this blog. However, given that the play itself draws liberally on Macbeth, Richard III and Hamlet; that this production is by a company about whom I am preparing to write a book; and that I’ve travelled to Moscow in order to …
The Witch of Edmonton (RSC) @ The Swan Theatre, Stratford-upon-Avon
October 26, 2014
(note – this review is of a preview performance) The Roaring Girls season, discussed in previous posts on this blog, ended with an entirely untypical coda. Directed by a man (Gregory Doran), given an early modern setting and appearing divorced from the statements about feminism and gender roles within the RSC that had characterised the …
A Christian Turn’d Turk (Read Not Dead) @ The Sam Wanamaker Playhouse
October 6, 2014
Back in May, four teams of paired scholars and directors took the stage at the Sam Wanamaker Playhouse to pitch for the return of a classic Read Not Dead production. We could have had Middleton’s Your Five Gallants. We could have had Lyly’s Sappho and Phao (though perhaps Lyly needs have been better met recently …
The Woman in the Moon (The Dolphin’s Back) @ The Rose Playhouse, Bankside
October 5, 2014
Through the combined efforts of scholar Andy Kesson, secondary school teacher Perry Mills and director James Wallace, John Lyly has achieved a remarkable renaissance in recent years. The revival in Lyly’s fortunes is due almost entirely to the rediscovery of his works, not for their complexity of allusion and attachment to court politics, but for …
Hamlet @ The Royal Exchange, Manchester
September 21, 2014
Despite the apparent novelty, Hamlet is perhaps the Shakespearean tragic hero most often played by a woman. As Tony Howard’s excellent book sets out, women have performed the role for more than two centuries, and indeed the finest of all Hamlet films features the superlative Asta Nielsen in the role. Nonetheless, Maxine Peake’s return to …