Admire the views from atop 'Arthur's Seat'; play with medieval weaponry at the castle; scale the treacherous heights of the Scot memorial; these are all the things I intended to achieve on my first trip to Edinburgh. Instead, I spent five days hidden from the sunlight (please allow my poetic license, after all, this is… Continue reading Fun at the Fringe; a long weekend in Edinburgh
I found myself in the fortunate position of back-to-back theatre dates this week: Monday night saw Carrie Cracknell’s surreal and dystopian take on Macbeth at the Young Vic, whilst Tuesday took an excursion to the Emerald City, in the classic musical Wicked. At first glance these two productions couldn’t be more disparate, connected only by… Continue reading Macbeth, Thane of Oz.
Eugene O’Neill’s The Hairy Ape artistically, and at times poetically, presents an overdue indictment on a society that reserves the right to needlessly exclude. The eponymous character is trapped on the lower deck of a repressive, ‘upstairs, downstairs’ society; whilst transition may appear fluid, it becomes increasingly clear that class is a cage from which… Continue reading The Old Vic’s Hairy Ape
After being blown away by Maxine Peake’s Hamlet earlier this year, I was eager to see what could become of a classic Shakespearean drama if ALL of the characters were portrayed by women. Whilst drama may be looked on at school as a cop-out, ‘girly’ subject, it doesn’t prevent women from being totally underrepresented and… Continue reading ‘Smooth-Faced Gentlemen’ take on the irrationally masculine world of Othello
Whilst I appreciated this was a well-executed, grand spectacle, responsible for reinvigorating the masses to watch Shakespeare, I can't help but disagree with just about every directorial decision presented. Let's start at the beginning, or the latter half of act 1, scene 2, as this rewrite had it. By all means, update Shakespeare; I've seen… Continue reading Review: Hamlet Cumberbatch, in all its long-awaited glory
Originating in the fifteenth century as a relatively simplistic moral message, Duffy's new adaptation maintains the medieval integrity of the piece, whilst incorporating into Everyman something that every-modern-man could relate to. From the outset, it is clearly an ensemble piece. At the risk of sounding trite, the company really did incorporate ‘everyman’, embodying a variety… Continue reading Everyman; a National Theatre Review