Offers intriguing Shakespearean conspiracy theory insights, but its lecture-like structure, minimal design, and lengthy pacing make it more informative than theatrically compelling.
The question of the true authorship of the world’s most famous plays has been hotly debated for centuries. Some claim Shakespeare stole material from lesser-known playwrights; others argue that “Shakespeare” was merely a collective pseudonym, or even that the works were secretly penned by Queen Elizabeth herself. Of all these theories, it is the infamous Oxfordian claim that Edward de Vere, the 17th Earl of Oxford, was the true William Shakespeare that forms the heart of Rosemary Loughlin’s A Rose by Any Other Name, playing at Barons Court Theatre.
For any Shakespeare enthusiast, the piece may spark memories of their own first encounters with the Bard. Loughlin scatters recognisable speeches from The Merchant of Venice, Julius Caesar, and of course Romeo and Juliet throughout the show, offering both familiar pleasures and a few surprising facts about this enduring literary conspiracy.
A two-hour, one-woman performance is a formidable challenge for any actor, especially when the performer is also the playwright. Here, Loughlin may have taken on more than the format can comfortably bear. Frequent digressions into anecdotes about delayed buses and overly descriptive cups of tea weigh down the narrative, which begins to feel more like an extended academic lecture than a tightly crafted piece of theatre. Without sharper editing, the material struggles to maintain momentum across its long runtime.
Loughlin’s delivery of her poetic, idea-rich script also felt emotionally detached, her performance at times over-rehearsed. Ironically, the most engaging moments came when she briefly faltered, allowing the carefully constructed façade to slip and revealing the warm, inquisitive person behind the text.
Scenographic elements were minimal. Only two sound cues punctuated the evening: one a bustling street soundscape as Loughlin described her pilgrimage to de Vere’s London home, the other the sound of the sea as she arrived in Venice to trace de Vere’s travels. While evocative, these isolated cues felt arbitrary; a more consistent integration of sound might have provided the depth and texture the production lacked. Attempts at visual aids, such as glossy printed photos of the locations she visited, also fell short as the reflective surfaces distracted some audience members from the narration. More successful were the simple costume gestures, such as donning a scarf, a necklace, or a Renaissance headpiece to mark transitions into the Shakespearean monologues.
A Rose by Any Other Name offers a fresh perspective on plays audiences have known for centuries, blending personal reflection with historical intrigue. For devoted Shakespeare scholars, the piece may provide delightful insights and an intimate look at Loughlin’s evolving relationship with the authorship debate. For the casual theatregoer, however, its dense historical detail and leisurely pacing may feel more tedious than revelatory.