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The Tempest @ Shakespeare’s Globe

My first visit to Shakespeare’s Globe was a school trip in 2000 to see Vanessa Redgrave’s Prospero in a production that is still notable among Tempests I’ve seen for many reasons, not least an ethereal, androgynous Ariel and a complete, spectacular masque with goddesses appearing on high. Jeremy Herrin’s new production was the first I …

Gorboduc (Shakespeare’s Globe Read Not Dead) @ The Parliament Room, Inner Temple

Thomas Norton and Thomas Sackville’s Gorboduc is often spoken of as the template for English tragedy. The first play to be written in blank verse and the first to employ dumb shows with its Chorus, the 1561 play establishes many of the conventions that would characterise revenge tragedy especially during the early years of the …

The Knight of the Burning Pestle (Read not Dead) @ Sackler Studios, Shakespeare’s Globe

‘Post-modern before the term was even invented’. So runs the blurb on Shakespeare’s Globe’s ‘Read not Dead‘ webpage, and it’s a fitting description of Francis Beaumont’s The Knight of the Burning Pestle. A failure when first performed, and an often difficult play in modern revival, the Read not Dead team here excelled themselves with an …

Twelfth Night @ Shakespeare’s Globe

The Globe’s double-bill of Original Practices productions links Twelfth Night with the much longer run of Richard III reviewed in my last post. Again, the backboards of the tiring house were lifted to reveal the actors dressing; again the female characters were men in white make-up; again onlookers sat in the galleries and the band played original instruments. …

Richard III @ Shakespeare’s Globe

It’s been a busy year for Richard III. Not only have the RSC and now the Globe exhumed him live onstage, but what may be his actual remains have been unearthed in a Leicester car park. With the Tobacco Factory and Nottingham Playhouse due to stage Shakespeare’s play in 2013, the play has entered a …

The Taming of the Shrew @ Shakespeare’s Globe

Standing in the pit of the Globe on Thursday night, a disturbance broke out behind me. A steward remonstrated with a lager-swilling England fan, with tattoos on his cheeks and unkempt beard. Tourists moved to protect their belongings and their friends as the noisy man refused to leave the auditorium, then pushed through the crowd …

The Merchant of Venice (Habima) @ Shakespeare’s Globe. Part 2: The Production

Follow-up to The Merchant of Venice (Habima) @ Shakespeare’s Globe. Part 1: Outer Frame from The Bardathon It’s impossible to divorce context from production. Immediately after Dromgoole left the stage, still being applauded for his pre-emptive shutting down of protests, the actors of Habima emerged onto the Globe stage and called for a welcome, whipping …

The Merchant of Venice (Habima) @ Shakespeare’s Globe. Part 1: Outer Frame

Reviewing an event such as this evening’s performance at the Globe of The Merchant of Venice by Habima (Israel’s national theatre) poses serious ethical questions. If the review focuses on the entire experience – the preliminaries, the tensions, the various kinds of performance taking place both outside and within the auditorium – then the production …

The Taming of the Shrew (Theatre Wallay) @ Shakespeare’s Globe

"This is a sacred space" announced Salman Shahid, introducing Theatre Wallay’s Globe to Globe production of The Taming of the Shrew. For the first time that I’ve seen in a Globe to Globe production, a member of the company came onto the stage to introduce the play and the company’s honour at being here, before …

All’s Well that Ends Well (Arpana) @ Shakespeare’s Globe

It is not unusual to note that, when adapting classical English texts that particularly deal with class systems and social hierarchies, from Shakespeare to Austen, the Indian caste system lends itself particularly well to direct translation. In Sunil Shanbab’s Globe to Globe production of All’s Well that Ends Well, the transgressive nature of Heli’s (Mansi …