There’s always a new or different way to do things, no matter how ¯\_(ツ)_/¯ London-based commentators get, and so the news of Europe’s first ever pop-up Shakespearean Theatre – SHAKESPEARE’S ROSE THEATRE – feels like a good thing to me. Taking up residence in York this summer, the Rose looks set to replicate something of the Globe experience, groundlings and all, for a whole new audience.
The 10-week season will consist of four plays, performed in repertory by two companies of actors
- A tragedy – Macbeth
- A comedy – A Midsummer Night’s Dream
- A tragic love story – Romeo and Juliet
- A history – Richard III
Romeo and Juliet and Richard III will be directed by the award-winning Lindsay Posner, while York Theatre Royal’s Olivier Award-winning Artistic Director Damian Cruden will direct Macbeth, and Associate Director Juliet Forster will be putting her stamp on A Midsummer Night’s Dream.
And particularly pleasing to see is that even in this setting which might be perceived as traditional as it gets, there’s a playfulness to the approach to the plays (from Cruden and Forster at least). Antony Bunsee and Amanda Ryan play Theseus and Hippolyta but in a bit of a switch, will also play Titania and Oberon respectively. There’s a female Puck too, plus Amy Lennox as Hermia which leaves me in no doubt as to which of these will be my priority to see! Continue reading “News: Cast and creative team announced for Shakespeare’s Rose Theatre in York”
“There must be no squeamishness over losses”
In the centenary year of the beginning of the First World War, many a theatre has programmed accordingly but few can lay as effective a tribute as the Theatre Royal Stratford East with their revival of Joan Littlewood’s Oh What A Lovely War which premiered here a little over 50 years ago. The play came in for some stick from that enlightened soul Michael Gove who denounced its political revisionism (and gave it a healthy dose of publicity to boot) but in the final moments of this emotionally exhausting show, only the most totally deluded of fools would have politics on their mind in the face of such unutterable loss of life, something that continues in battlefields today.
There is no denying that the show wears its politics clearly on its sleeve. Devised by Littlewood and Theatre Workshop in the 1960s, its depiction of the class lines within the armed forces speak firmly of its time, and it is interesting to see how the American efforts are viewed at a time before any “special relationships” had been forged. But truly at its heart is the experience of the ordinary soldier and Lez Brotherston’s design never lets us free of the unflinching barrage of information and imagery – projections simulate what life might have been life, a constantly scrolling panel of statistics keep the human cost at the front of our minds. Continue reading “Review: Oh What A Lovely War, Theatre Royal Stratford East”