A thoughtful attempt to harmonise Shakespeare with global voices– ambitious in spirit, if not always in execution
Some people, especially younger generations, occasionally question the relevance of
Shakespeare today, particularly his influence beyond the UK and his resonance with young or international audiences. Yet shows like Shakespeare in Concert demonstrate how his work continues to speak across borders, cultures, and generations.
Performed by an international ensemble, Shakespeare in Concert: 1st Edition describes
itself as a night for “Shakespeare lovers, singing enthusiasts and theatre-goers who have been waiting for something different.” This 40-minute performance interlaces scenes and monologues from some of Shakespeare’s most iconic works with newly composed, a cappella polyphonic songs. Composed by Marina Hata and Ellie Campbell, the music evokes sea shanties and medieval English folk tunes, each piece thematically tied to the text that follows.
As lead composer and organiser, Marina Hata explains, “This is not a traditional
Shakespeare show, but rather an invitation by international voices to a theatrical poetic
language, spoken through songs and texts.” The cross-cultural ambition behind the piece is both clear and commendable, especially at a time when inclusive, international approaches to classical material feel more urgent than ever. While not all the artistic choices succeed, the spirit behind them is unmistakably generous.
The musical score is the strongest element of the piece. The cast’s vocal harmonies are
confidently delivered, and the text selection was carefully crafted. Hata’s own performance as Ariel in The Tempest includes a delicate silk fan dance that briefly enlivens the staging and hints at what the show could achieve with greater visual imagination.
However, calling the work “innovative” feels overstated. The staging– performers seated in a semicircle, standing only to deliver their lines– quickly becomes repetitive, and feels
unimaginative. After the opening moments, the energy flattens, and the lack of movement limits the piece’s theatrical potential. Likewise, while the music is pleasing, its consistent tone and rhythmic structure result in a uniform sound that lacks momentum. Without musical variation or a narrative arc to build toward, the piece starts to feel static.
There are also moments in the performances where delivery feels strained or slightly
overacted, though there are flashes of emotional clarity that land well. The thematic links between scenes and songs, though thoughtful, aren’t enough to sustain a dramatic journey, leaving the evening feeling more like a well-intentioned collage than a cohesive whole.
That said, it remains a commendable effort. The music, though repetitive, was lovely, and it is genuinely exciting to see new and multicultural voices engaging with Shakespeare in a shared space. Shakespeare in Concert is a step in the right direction toward what theatre can and should strive for: inclusivity, diversity, and global collaboration. Ultimately, while this may not have been a fully realised evening of theatre, it feels like the beginning of something with genuine promise. I, for one, look forward to seeing how this project evolves in future iterations.