Tag: shakespeare

Production photographs by Assa Davíðsdóttir.

REVIEW: Unscripted Shakespeare

Published on by gracewallisLeave a comment

Rating: 5 out of 5.

The company that founded the first UnScripted Shakespeare Festival in New York City takes the Edinburgh Fringe by rambunctious, rhyming, pentametered storm.

New York based improv company Thorn and Petal Stick has been quick to show what they’ve got up their lacey Elizabethan sleeves at this year’s Fringe. And the pleasantest non-surprise of any deliciously good improv show? It’s different every night.

An unassuming company of four – fronted by actors Hal Munger and Nick Zimmerman, scored by musical virtuoso Sebastian Hochman, and designed and lit by Sasha Sokolova – Thorn and Petal Stick founded the first UnScripted Shakespeare Festival in New York. They’ve arrived in Edinburgh to pull all the plugs on a seemingly infinite jug of dramatic and downright silly fun. It’s honestly a relief that you can just wait twenty-four hours and watch these no-frills geniuses tear the house down all over again. 

The real cherry on top of a ridiculously talented team of improvisers is that they do the whole thing in iambic pentameter. Over the course of an hour, the audience is subjected not only to the clopping dee-dums of ten-syllable verse lines but also shared lines, rhyming couplets, and even musical diddies. It really is spectacular work that makes you wonder if you haven’t just stumbled on a hidden gem of an act in the buzzing hive of late-night Fringe. 

Sokolova’s set – a simple canvas littered with as-yet-unimbued objects – keeps the actors happily on their toes in a garden of rich prop-portunities. Likewise, her improvised lighting designs keep the story pummeling along, integral to marking the beginnings and ends of each improvisational chapter. Hochman – legs leisurely crossed in his corner of musical instruments – hilariously assumes the role of the omniscient town crier, often openly mocking his friends’ iambic stumbles and dressing each scene in its own tonally unique score so effortlessly, you wonder what he’d be capable of if he scooched his music-making station centre-stage.

The show comes fresh off of Munger’s and Zimmerman’s training at the London Academy of Music and Dramatic Art, where they studied classical acting together. Apparently, the two met when Munger posted a notice on the school activities board for a nightly improvised Shakespeare group. At the first meeting, only one person showed up: it was Zimmerman. The rest is history.

With a whole run ahead of them this August, it’s exciting to imagine just how many improvised places they’ll be taking their contagiously funny Elizabethan vibrations – and how many new fans they’ll be picking up along the way.

Unscripted Shakespeare is a part of the 2025 Edinburgh Fringe through 25 August. Get your tickets here: https://www.edfringe.com/tickets/whats-on/thorn-and-petal-stick-unscripted-shakespeare.

REVIEW: Rough Magic

Published on by Jimena BatresLeave a comment

Rating: 5 out of 5.

Riotous and ridiculously good. A Shakespearean family show bursting with heart, hilarity, and spellbinding performances. 

Witches, warlocks, spirits, ghosts, and magical beings of every kind– step into the Sam Wanamaker Playhouse at Shakespeare’s Globe and prepare to become an Apprentice Guardian of Destiny! Behind those doors lies a world bursting with wonder, mischief, and riotous Shakespearean charm. Rough Magic is the Globe’s bold summer pick for a family show, and it absolutely delivers. 

Directed by the Globe’s Director of Education, Lucy Cuthbertson, and written by Ben Hales and Kerry Frampton (who also stars– and is, frankly, a force of nature), Rough Magic is a four-hander full of heart. With interactive storytelling, whip-smart improv, and gloriously silly theatrical magic, this show is a joyride from start to finish. 

The story follows the three Weird Sisters– Nona (Rosmarie Akwafo), Morai (Janet Etuk), and Audeja (Bryony Twydle)– as they prepare to welcome Queen Hecate (Frampton) for a crucial ceremony. But all is not well in the world of prophecy. The sisters are still reeling from the Macbeth incident (hush hush– thunder, lightning, trauma-induced shivers), which they blame on young Nona for supposedly delivering a false vision (“Thou shalt be King

hereafter”). A prophecy, they insist, was not in the Book of Destiny– their most sacred text and the source of all true futures. In an effort to redeem herself, Nona sets out to guide another human whose destiny, like Macbeth’s, seems dangerously open to change. What follows is a riotous blend of clowning, improv, and pantomime-style mayhem that has children and adults alike in fits of laughter. 

The performances are what truly make Rough Magic such a delight. Rosmarie Akwafo’s Nona is bold, sweet, and endlessly relatable– she’s every kid in the audience, and easy to root for. Her “aunties,” Moira and Audeja, are just as entertaining. Bryony Twydle shines as the motherly yet chaotic Audeja, delivering a hilariously unhinged one-woman Macbeth mid-memory spiral that somehow absolutely lands. She also doubles as one of two overly dramatic actor-ghosts, stealing scenes with delicious absurdity. 

Janet Etuk brings grounded gravitas to Moira, the clear-headed leader of the trio– a stark contrast to her wild turn as the infamous Fairy Puck. The transformation is so complete it took me an embarrassingly long time to realise it was the same actor– a true testament to her range. 

And then there’s Kerry Frampton: co-writer, multirole marvel, and comedic powerhouse. Her main role as Henry IX– a deranged pantomime villain with big spoiled-brat energy– is a joy to hate, packed with bold choices, razor-sharp jokes, and gloriously ridiculous physicality. Her other characters are equally vivid: Hecate commands the stage with resonant vocals and queenly poise, while her second ghost (opposite Twydle’s) is just as outrageously funny. But the true show-stealer is Ze Shadow– an absurdly French, telekinetic silhouette who teaches the audience how to lift his own arm with their minds. Frampton is simply on fire, and Rough Magic becomes a playground for her wit, range, and comic brilliance. 

The set and costumes complete the spell. From levitating objects to a steaming cauldron, glowing books, and shining orbs, the show is every bit as magical as you’d hope. A particular highlight was “Creature,” the witches’ octopus-like pet– brought to life by a single puppet leg that popped out of trapdoors to the kids’ absolute delight. All in all, Rough Magic is a triumph. With a top-tier cast, a sharp script, non-stop audience interaction, and just the right sprinkle of Shakespeare, it’s a show the whole family will remember– and laugh about– for days to come. Bring your little ones, bring your inner child, and rest assured: you’ll all leave grinning from ear to ear.

Image Credit: Marc Brenner

REVIEW: The Winter’s Tale

Published on by justinemsjonesLeave a comment

Rating: 5 out of 5.

“A brilliant, thought provoking approach to The Winter’s Tale”

Walking into the Royal Shakespeare Theatre always carries a sense of timeless magic. Knowing Yaël Farber is making her RSC debut adds another layer of excitement. And what a debut it is. This production of The Winter’s Tale is a stirring, beautifully executed piece of theatre.

Shakespeare’s The Winter’s Tale is a play of extremes – of jealousy and joy, destruction and renewal, tragedy and hope. The play follows the story of Leontes, King of Sicilia, falling to jealousy and envy. His childhood friend, Polixenes, King of Bohemia, has been visiting for nine months and despite Leontes attempts to stop him, he plans to leave for Bohemia. On his departure, Leontes asks his pregnant wife, Hermione, to convince Polixenes to stay and he does. Leontes then spirals into a breakdown fused by jealousy and bitterness, accusing his beloved wife of adultery and plotting to murder Polixenes. What follows is a devastating series of events – betrayal, exile, death, and loss – that ultimately transforms into a tale of forgiveness, rebirth, and grace.

This is one of Shakespeare’s most unusual and compelling plays. Farber embraces all its contradictions and leans into its emotional intensity, drawing out the timeless human struggles at its heart: the damage wrought by unchecked power, the resilience of love and the redemptive potential of time.

There is a great strength across the cast who grip hold of the audience for nearly three hours. The portrayal of Autolycus by Trevor Fox is superb. You would not know he stepped into the role last minute. He commands the stage and grasps your attention, embodying the mystery of the play in himself. Bertie Carvel gives a gripping portrayal of Leontes, capturing the fragility beneath the madness. Madeline Appiah shines as Hermione, bringing both dignity and fierce inner strength to the role. Her courtroom scene is particularly powerful. Aïcha Kossoko commands the stage as Paulina. Her performance is electric. John Light is a compelling Polixenes throughout, while the young lovers, Lewis Bowes as Florizel and Leah Haile as Perdita, bring freshness and youthful intensity to the second act.

Soutra Gilmour’s set design is elemental and evocative – earth, water, fire, and air are ever-present. The stage is surrounded by a shallow moat of water, creating a sense of reflection. Fire ignites the celebrations and wind sweeps through transitions like time itself. Towering over it all is a vast, luminous moon, a silent witness to the unfolding drama on Earth. It is a haunting and poetic backdrop that beautifully complements the play’s themes.

The soundscape is brilliant. Music underscores the production with a haunting elegance – the low, pulsing bass threads through the tense scenes, creating an undercurrent of unease. The inclusion of musicians on stage during the second act is a great choice and brings the Bohemian World to life. There is a thoughtful use of sound that enriches the emotional landscape of the play.

This Winter’s Tale is a triumph – a bold production that embraces the play’s contradictions and finds truth in its magic. You may leave wondering exactly what happened in the end and perhaps, already planning your return. The Winter’s Tale runs at the Royal Shakespeare Theatre until 30 August. Tickets are available here.

Credit to Ox In A box for image from Wild Goose Theatre

REVIEW: Much Ado About Nothing

Published on by jessicafrancis08Leave a comment

Rating: 3 out of 5.

It’s not the slickest Shakespeare you’ll ever see, but if you’re after a fun, feel-good evening in a stunning setting, this one’s worth your time.

On a beautiful, warm evening, there’s really no better setting for Shakespeare than at the Oxford Castle. The open-air atmosphere adds a certain magic, and even though the actors have to project more without microphones, the unique setup with the audience on three sides means they don’t have to worry too much about sight lines. That said, for the first twenty minutes of this production, Oscar Luckett, who played Claudio, faced upstage a bit too much, which made it hard to catch some of his lines from where I was sitting. So while the three-sided audience arrangement is awesome, the actors still need to make sure they turn and project to all sides.

The director, Paul Alex Nicholls, was very welcoming and made sure I had a great seat, which definitely helped me soak it all in and appreciate every detail.

The set was simple but effective, with just a central dais, some plants and a bar that transformed into Hero’s tomb later on. The actors made great use of the set, especially during those sneaky, secretive scenes where they had to hide or eavesdrop.

Performance-wise, I felt the men really stood out. Billy Morton as Benedick was fantastic, he nailed the comedic timing and brought out Benedick’s softer and more intense sides really well. Craig Finley, who juggled multiple roles, also made the Shakespearean lines feel natural and engaging, which is no easy feat.

On the flip side, I did feel the women’s performances were a bit stiff at times, which made some scenes harder to follow. Eliza Blackwell as Beatrice had a great grasp of the language, but some of her movements felt a bit distracting and unnatural, which took away from the immersion just a little bit.

The pacing had its ups and downs, and there were a few moments that dragged a bit, at one point in Act Two, there was some dead stage time that could have been tightened up but there were also some real highlights. The scene where Leonato, Don Pedro, and Claudio trick Benedick into believing Beatrice loves him was absolutely brilliant and had everyone laughing out loud.

The audience really seemed to enjoy the interactive elements, even if not everyone was thrilled about being pulled into the action and the 1940s setting was a really nice touch, with great costumes and a vintage vibe. The music and dancing added some nice breaks between scenes, even if some choices were a little unexpected.

In the end, if you’re looking for a fun, easygoing evening of Shakespeare in a gorgeous setting, this production is definitely worth checking out. It might not be the slickest, most professional performance out there, but you’ll still have a great time and leave with a smile.

REVIEW: As You Like It

Published on by James ChristensenLeave a comment

Rating: 4 out of 5.

East London Shakespeare Festival’s zany, family-oriented rendering of Shakespeare’s comedy brings the pep and charm, even if it sacrifices some of the play’s potential nuance.

As far as accessible and outdoorsy Early Modern comedies go, As You Like It is a pretty intuitive candidate. A split setting between town and woods allows East London Shakespeare Festival to make clever use of not only their parkland surroundings, but also the facade of Clissold House in Stoke Newington – a building whose period brickwork and Victorian austerity all but meld into the show’s own set-pieces.

The plot is straight-down-the-line Shakespearean comedy: in Arden Town, the Old Duke has been supplanted by his scheming brother, leaving his daughter Rosalind in a precarious position. Her close friendship with the New Duke’s own daughter Celia has protected her thus far, but the welcome is wearing thin. After a romance blooms between Rosalind and Orlando – the disinherited and oppressed younger brother of New Duke-sycophant Oliver – she is banished from Arden, as is Orlando. With the devoted Celia in tow, Rosalind adopts a male alter-ego named Ganymede to affect her escape into the Forest of Arden. Love is un- and re-requited; wires are crossed; disguises are donned and unveiled; and in the end all is put to rights in a giddy flurry of matrimony. As You Like It doesn’t have the elegance of structure that Shakespeare’s other gender-bending comedy Twelfth Night retains, nor the ethereal lyricism of Midsummer – but there’s always plenty of rich poetry and clever wordplay to be found.

Any company embarking upon a summery, family-friendly Shakespeare-in-the-park comes in with a very specific mandate, and quite genuinely the best thing to be said about ELSF’s As You Like It is that the team absolutely understands the brief. The edit of the text (presumably by director Rosie Ward) is brisk and judicious; intuitive and inventive design by Lucy Fowler achieves the playful vibrancy it needs to; and the cast pile-on the audience interaction, winking anachronisms and goofy ad-libs (hats-off to the immortal exit-line “Look at that, duckie! It’s an AMEX!”). These latter few are the most consistently sharply-tuned tools in ELSF’s belt, along with the dramaturgical quips they mine from the text’s modernisation: Rosalind swanning into an exclusive club while paparazzi swarm and Gaga blares is a grand introduction to their own Arden Town. It’s clear the team are having a blast with this part of the process, and that ebullience becomes the infectious engine that drives the early sections in particular. It’s bright and breezy, and the cast are adept at drawing both the kids and adults into their playful world.

The cast have energy to burn, and bless them they leave it all out on the pitch. They’re fairly-well impossible not to find endearing. Fights by Meg Matthews are just as silly and deftly-conceived as they ought to be – particularly the early wrestling match between Orlando and ‘Charles the Wrestler’, which the team delightfully render as a WWE-adjacent spectacle. The music is hit-and-miss: when the cast have a chance to perform live with their own instruments it settles beautifully, but they feel a little marooned in the larger karaoke mash-up numbers.

The real hitch in the endeavour is that – with an unrelenting, comic-sans intensity as their guiding principle – ELSF risks smothering the play they’re there to perform. A lot of the time, Ward and her cast don’t seem to know when to play a moment straight – to let the text and the scenarios do some of the work for them. It’s as though they’re nervous that if they don’t swing for the fences with vaudevillian extremity when the opportunity arises, their audience might lose interest entirely. But the upshot of this is that the story and intention can get buried under whizz-bang gags and fortissimo scenery-chewing. The scene in which Rosalind (as Ganymede) and Orlando role-play his hypothetical wooing of Rosalind was a sometime-victim of this – losing a little of its sweet romanticism and the sly transgressiveness of its gender-bending; Emilia Harrild and Luke Martin absolutely have the chops to play this scene with clarity and earnestness, but they don’t quite get the chance. Melancholy Jaques’s oft-cited ‘Seven Ages of Man’ monologue definitely suffers from this malady. It’s an especially perilous ensnarement for an edit of this brevity, as later scenes and B-plots occasionally burst onto the stage and promptly vanish without appearing to make much sense at all.None of this is shooting for a revelatory take on As You Like It, but it’s not meant to! ELSF are out here to have a good time, and they’ve got the charm and energy to do it – even if they don’t always marry their pantomime vim with the depth of authentic feeling that Shakespeare’s poetry tends to offer. But if you’re looking for a picnic and a family night out, it delivers the sugary goods.

Credit Steve Gregson

REVIEW: Taming of the Shrew at Shakespeare in the Squares

Published on by Lucy HolzLeave a comment

Rating: 5 out of 5.

A joy-filled summer celebration of the bard

A not-for-profit touring company, Shakespeare in the Squares stages a Shakespeare play in London garden squares for one night in each venue every summer. Tailored to each individual venue, the company works with local organisations to create a true community feel in each unique garden, this year performing 34 times. 

At the Cleveland Square performance, the setting couldn’t be more idyllic. A perfectly manicured garden surrounded by expansive, leafy trees, the production is presented on a square of lawn flanked by fold-out chairs. With picnic rugs and cushions strewn around the garden and specific ‘picnic seats’ within the audience available for purchase, the atmosphere is relaxed and causal. This setting invokes what a traditional Elizabethan production of Shakespeare might have felt like, as patrons would wander in and out of the theatre, eating, drinking and interacting with the players onstage. 

Tonight’s performance of The Taming of the Shrew ‘takes its inspiration from pantomime and slapstick’, with audience participation, high melodrama and of course, live music. This play follows the story of Katherina the ‘shrew’, an unmarriageable woman who is ‘tamed’ by the swaggering Petruchio. A controversial play due to themes of misogyny and female oppression, productions will either lean into the abuse Kate experiences, or pull away, portraying the dialogue as light-hearted and all meant in jest. The final monologue in which Kate declares her submission is the ultimate decider, with director Toby Gordon’s version having her twist the words into irony rather than sincerity. 

This interpretation is essential for the style of performance, and producing a less often seen Shakespeare makes for a refreshing night at the theatre. The cast is exceptionally strong, all actor-musicians who sing, play and perform their lines to polished perfection. Elizabeth Marsh cuts a forbidding figure as Baptista the mother of two eligible daughters, while Lee Drage is a show-stealingly hilarious Hortensio. Paddy Duff has a Ryan from High School Musical quality and wins the audience swiftly with his charming asides and flamboyant gesticulations.

With musical selections from the 1950s and 60s, the production is peppered with light-hearted pop hits, with audience members unable to help singing along in various moments. An ensemble of talented musicians, John Holt-Roberts and Roddy Lynch lead the crew with strong voices and charismatic stage presence. 

Highly engaging throughout, movement director Charlotte Benedict has choreographed a tight, dynamic production. Despite the lack of raked seating, audiences are always able to observe the actors as they utilise every corner of the stage area, running up and down the aisles and popping in and out of various exits. 

A family-friendly, thoroughly enjoyable production, Gordon has successfully created a Shrew to ‘platform female characters’. As Dame Judi Dench proposes, Shakespeare in the Squares is the perfect way to ‘engage new and non-traditional audiences of all ages’. It’s hard to think of a better way to spend a summer evening. 

REVIEW: Romeo and Juliet

Published on by H HsuLeave a comment

Rating: 3.5 out of 5.

In an era of safe revivals, that daring alone makes this Romeo and
Juliet a rare and thrilling spectacle.

A haze of smoke, steel scaffolding, and actors adorned in striking makeup, bathed in eerie blue light, all happening in a space where the arches and walls are etched with history. You are stepping into a different world – this is Flabbergast Theatre’s new production of Shakespeare’s Romeo and Juliet, a bold reimagining of the classics with fearless audacity.

Set to the strains of Petrarch’s love poetry, this rendition of Shakespeare’s timeless tragedy is anything but traditional. Campy, gripping, and wildly inventive, it defies expectations at every turn. The visual design alone is stunning—an unfinished construction structure looms over the stage, its raw, fragmented aesthetic mirroring the play’s themes of love and destruction. The costumes are a deliberate clash of eras: 19th-century hoop skirts mingle with crochet tank tops and Urban Outfitters-esque crossbody bags. Yet somehow, these disparate elements coalesce into a cohesive, electrifying aesthetic.

Equally striking is the blocking—the deliberate arrangement of bodies onstage, enhanced by dynamic lighting. Many scenes resemble living Renaissance paintings, meticulously composed yet pulsating with modern energy. Neon lights pierce through the classical framing, creating a visual tension that feels both fresh and exhilarating.

The production’s most fascinating tension, however, lies in its interplay between Shakespeare’s text and devised movement. In traditional stagings, the language carries the narrative, but here, physicality shares the spotlight. At its best—such as in the balcony scene—movement and dialogue amplify each other, injecting new vitality into familiar moments and deepening the chemistry between the lovers. Shakespeare’s language suddenly springs to life with electrifying vitality on stage. Yet at moments, the choreography distracts the audience from the text, muddling the storytelling or rendering certain speeches ungenuine.

The highlight of the ensemble surely features Lennie Longworth’s Juliet —radiant yet tender, she crafts a portrayal that feels achingly real and utterly mesmerizing. The supporting cast, too, delivers memorable and unique performances, though not uniformly; some actors lack focus, their physicality unmoored in pursuit of an ill-defined “naturalism,” weakening the narrative’s clarity and the character’s credibility.

Yet for all its bold reinvention, the production’s jarring near-absence of performers of color (just one in the cast) exposes the limits of its progressivism. This lack of diversity undermines the ensemble’s collective strength, rendering its blind-casting claims more aspirational than realized.

Overall, even when the execution falters, the production never loses its campy verve or its willingness to dismantle conventions. In an era of safe revivals, that daring alone makes this Romeo and Juliet a rare and thrilling spectacle.

REVIEW: LEAR at Traverse Theatre

Published on by Finn BaldwinLeave a comment

Rating: 3 out of 5.

“An excellent idea – but not much more”

On its surface, the idea to adapt the work of Shakespear into a dialogue-less mime, is a brilliant one. The story of King Lear is one that has been told thousands of times in thousands of ways, which surely makes adapting it again a daunting undertaking. Ramesh Meyyappan rises to this challenge by reducing the story all the way down to its bare essentials – which may work better in concept than in practice.

Lear is an adaptation more of the themes and spirit of the original play rather than the actual events of the text. It plays out as a series of mimed situations as the titular Lear returns from war and struggles to connect with his family again. Repeatedly Lear breaks down and lashes out and must be comforted by the three women around him. Though this cycle is at one point broken by a long sequence where Lear puts on what I can only describe as a comedy hat, which ends up being a moment of delightful respite from the usual repeating motif.

At its best this continual simulacra of a life plays out like a strange trap Lear has found himself caught in. Probably the best moments of the play for me are the few moments when Lear seems to look around and realise that this isn’t his life at all, it’s just a surreal play. When Ramesh Meyyappan steps to the front of the stage to look into the audience with a confused bewilderment he has an excellent quality of making you think that he’s looking at you, personally. Lear’s sympathy is expertly created in these moments, as you look down at this broken man and know that you’re unable to help him get out.

Unfortunately, after an hour of this, it begins to ring hollow. Though the set-ups get more dramatic and black confetti covers more of the stage, it doesn’t quite manage to ever elicit much more feeling. After the first three or four times you see Lear go from being with his family to cowering on the floor and then finally, once again, to violence, you don’t really feel a need to see it the next five or six times. It never quite gets so bad that it becomes boring but it does start to feel repetitive.

It’s worth noting that the repetitiveness of Lear is clearly a feature rather than a bug. And though I can see what it’s saying thematically, I’m not so sure that it’s making an interesting enough point to warrant the hit to the watchability.

Amongst this the ‘comedy hat’ segment begins to feel like an odd kind of masterpiece. It’s one of the few parts of the play that actually sticks out towards the end because it doesn’t seem to fit with everything going on around it. The music especially is never better than in this section – quickly switching between tones and drifting between funny and disturbing with perfect awareness. Sadly it comes just slightly too early for it to truly break up the repetitive nature of Lear.

IN CONVERSATION WITH:Toby Gordon

Published on by Ke MengLeave a comment

We sat down with Toby who directs a new production of Taming of the Shrew at Shakespeare in the Squares, opening 4th June at Leinster Square.

This version of The Taming of the Shrew features pop classics – what inspired you to weave contemporary music into a Shakespearean comedy, and how do the songs enhance the story or character development?

My long-held interest in the early age of mass-distributed recorded music and its impact in bringing people together has led me to consider the parallels with Shakespeare’s early works and his use of songs – particularly in the comedies – to help us interpret mood and feeling. All the songs I have chosen serve a theatrical or narrative function and the period I have chosen equips the production with a visual grammar and setting. Popular music from the 50s and 60s tends towards upbeat and catchy numbers that have enjoyed sustained cultural resonance and showcase brilliant and innovative artists in an age before synthesisers and autotune.

How have you approached the gender dynamics and controversial themes in the play to resonate with modern audiences?

The play deals with themes of gender, relationships and family – all of which are resonant in 2025. The text has been reimagined and introduces audiences to a close-knit group of characters rooted in the community of Padua, Italy. My cut strives to platform the women. Baptista is reimagined as mother to Katherina and Bianca and Padua is established as a matriarchal society. I’ve aimed to level out the balance of power between Katherina and Petruchio and to highlight that theirs is not the only relationship the play presents. I am interested in the contrast illustrated when the vastly different relationships in the play are presented side by side.

How does directing for a transient, outdoor tour differ from working in a traditional theatre, and how do you keep the energy consistent across multiple venues?

Every venue we play is different and asks something different from the show and performers. As director, my aim is to equip the team with a robust story that is flexible in the telling – allowing them to make the most of the unique landscapes and audiences they will encounter on the tour. Our audiences play a huge role in fuelling the energy in performance. With outdoor theatre, the energy of London during the Summer months is infectious – whatever the weather!

How do you think Shakespeare in the Squares contributes to making Shakespeare more accessible or relevant to today’s diverse London communities?

Shakespeare In The Squares began in 2016 with a production of Much Ado About Nothing touring 9 London gardens and squares. In the years following, our tour circuit has grown considerably. Now in our ninth year, 2025’s The Taming Of The Shrew will visit 27 locations across the capital and play 33 performances. Our aim is to keep growing the reach of our productions – championing fun and accessibility across the Summer Season.

What do you hope audiences take away from this production – not just in terms of entertainment, but also reflection or conversation?

In 2025, pre-conceptions about Shrew’s controversial themes can easily eclipse the entertainment, humour and humanity offered by the narrative. I hope to offer audiences a chance to redefine their relationship with this play and the way it presents relationships. As in life, relationships should not be viewed as a finished product but as a constantly developing interplay between ever-changing people

Ticket and info:https://shakespeareinthesquares.co.uk/tickets/

REVIEW: Hamlet Hail To The Thief

Published on by ayoungishperspective11 Comment

Rating: 4 out of 5.

Hamlet and Hail To The Thief converge strikingly in feverent new adaptation

‘Hamlet Hail to the Thief’ is a co-production between the Royal Shakespeare Company and Factory International, running at Aviva Studios Home of Factory International, Manchester until 18 May before transferring to the Royal Shakespeare Theatre, Stratford Upon Avon from 4 June – 28 June.

Whilst Shakespeare’s play in this adaptation is abridged, with a running time of 1 hour 45 minutes, it feels anything but limited, illuminated by Radiohead’s album and poignant physical theatre sequences. Both of these aspects deliver the plot just as well as the full length play, if not with more vigour and emotion. The live band are positioned onstage, and therefore watch the action of the play unfold throughout. Their constant watch adds to the paranoia Hamlet feels as he becomes governed by madness. It also sets the precedent that the music is inseparable from the narrative. The instrumentation and dialogue don’t take turns in this adaptation, but rather they feast off of each other. 

Samuel Blenkin’s portrayal of Hamlet leaves little to be desired. Whilst he captures his madness undeniably, with his erratic physicality and shrill outbursts, what I enjoyed most was the sass he injects into the character. Be it with the odd physical jest or sarcastic tone, Samuel knows how to modernise Hamlet’s wit. 

The influence of a female director is evident with the portrayal of Ophelia. The first time we see a character, rather than a musician, sing on stage is when Ophelia is about to die. Being the first character to sing inherently gives her status, and places value on her voice. Ami Tredrea sings a chilling rendition of Sail To The Moon, which was a standout moment for me. As she sings, the characters follow her around the stage, and are swept away with one motion of her hand – which again, reiterates her agency. She is anything but docile in this production. 

All of the physical theatre in this production facilitates powerful storytelling. The Frantic Assembly influence from co-director Steven Hoggett is undoubtedly present. One of my favorite moments is the iconic play within a play scene, told entirely through the macabre movements of three actors. Another is the final fight scene, which captures the desperation of Hamlet as he fights gradually more and more unmethodically. 

The set by AMP featuring Sadra Tehrani is nothing groundbreaking – a black castle backdrop with two levels – however, anything more may have felt obnoxious amidst so much going on. It is, however, interacted with beautifully. Particularly with the opening of an illuminated trap that Ophelia pauses to stare at hauntingly, before falling into. My favourite use of the set was the thrilling choice to have the ghost of Hamlet’s father displayed through a projection against the large back wall. Utilising the vast scale of the Warehouse to project an incredibly sizeable ghost, with a booming voice and distorted face, allowed us to join Hamlet in his terror. He is so unnerving, but therefore exciting to behold. Lighting wise, the only strobe sequence is saved for the final scene and lasts roughly two minutes. This wait allowed the ending to be as climactic and intense as needed. Very satisfying! 

Hamlet Hail To The Thief is an eerie, yet explosive production. It runs until 18th May at Aviva Studios, definitely catch it if you can!

Review by Lauren Lees