For the first time, we overcame scepticism and joined a packed house at FACT, our local Picturehouse to watch the RSC production of King Lear streamed live from Stratford. It was a revelation; we were completely blown away by the experience, which was not at all like watching TV but instead felt totally immersive, like being there in the audience and on stage at the same time. I particularly appreciated being able to hear every word spoken and see details of costumes and facial expressions of the actors.
All of which is merely a preamble to praise for the production itself: Anthony Sher was outstanding as Lear, while the entire cast burned just as bright. Directed by Gregory Doran, the staging and costumes were magnificent, making this a truly memorable production of the Shakespeare play I have seen more times than any other. Continue reading “Anthony Sher dazzles in the RSC’s King Lear“
And this our life, exempt from public haunt, finds tongues in trees, books in the running brooks, sermons in stones, and good in everything. I would not change it.
There are reasons, I guess, why I am so bewitched by Shakespeare’s pastoral dramas, notably the great good fortune of an untrammelled fifties childhood in rural Cheshire, and then coming of age amidst the swirl of hippie values in the sixties – waving the flag for peace and love, rejecting materialism, and yearning to get back to nature.
The pastoral vision of a lost world of innocence and the simpler life of the countryside, with its potential for love and renewal, flowered in this year’s production of As You Like It at Chester’s open air Grosvenor Park Theatre. In the last few years it’s become a summer Shakespeare ritual for me and my daughter to chance the English weather and take our seats in the terraces (some covered, others not) of this theatre in the round. Continue reading “As You Like It in Chester’s Grosvenor Park: magical despite the rain”
Filter Theatre’s Twelfth Night, seen on Saturday at Theatre Clwyd, is like no other production of Shakespeare’s much-loved comedy you have ever seen. Purists might hate it, but Filter’s radically-cut, fast-paced version of the play is hugely enjoyable, and every word is the Bard’s. At little more than 90 minutes this is a distilled essence of Twelfth Night. The audience in Mold loved it. Continue reading “Filter Theatre’s riotous Twelfth Night“
Conrad Nelson’s production of The Winter’s Tale for Northern Broadsides is the most stripped-back production I’ve seen. We saw it performed in the round at the New Victoria Theatre in Stoke where the stage was bare, but for an occasional bench or something similar.
The result is to focus attention on Shakespeare’s words and symbolism – and on the quality of the acting which, as always with Northern Broadsides, was very high indeed with notable performances by Conrad Nelson himself in the role of Leontes, Ruth Alexander as Paulina, Mike Hugo as Autolycus, and Jessica Dyas and Lauryn Redding as the sparring peasant girls Mopsa and Dorcas. Continue reading “A stripped-back Winter’s Tale from Northern Broadsides”
Watching The Merry Wives of Windsor at Grosvenor Park open air theatre in Chester the other evening, I wondered why this Shakespeare comedy is so rarely performed. As always, the Grosvenor company put on a terrific show – fast-paced, multi-sensory, and packed with music and comedy. We couldn’t have asked for a more entertaining three hours of theatre – and on one of the warmest evenings of this dreary summer. Continue reading “The Merry Wives of Windsor in Chester’s Grosvenor Park: a touch of the 1970s”
The drizzle, it seemed, was determined to droppeth as the rain from heaven for some time, but heaven’s mercy prevailed to allow for a mainly dry performance of Romeo and Juliet by a wandering troupe from the Globe Theatre in Calderstones Park.
Still, nothing – least of all a bit of rain – comes in the way of Britons determined to enjoy a bit of Shakespeare. People were togged up in hooded anoraks, waterproof rugs and warming flasks of something or other as the travelling players wandered around, joking with the audience before the performance started with a song and dance – just as it would in Shakespeare’s time. Continue reading “Romeo and Juliet in Calderstones Park: teenage hysteria”
The weight of this sad time we must obey;
Speak what we feel, not what we ought to say.
The oldest hath borne most: we that are young
Shall never see so much, nor live so long.
Jonathan Miller’s touring production of King Lear for Northern Broadsides arrived at the Playhouse this week. It’s a stark, pared-down staging of Shakespeare’s starkest play, in which the weight of suffering at times feels almost as unendurable for the audience as it is for its characters. Continue reading “Northern accents in Jonathan Miller’s King Lear”