Review: REYKJAVIK, Hampstead Theatre
There’s a whiff of Jez Butterworth’s Jerusalem about Richard Bean’s Reykjavík. Come and raise a melancholic glass to the old world of superstition, mythic tales of magic and monsters, fated to be swallowed by the bloodless age of bureaucracy. It’s like spending an evening with that old man in the pub the light of whose eyes fades as he recounts tales of yonder realising that things ain’t what they used to be.
Interview: Simon Godwin on How MACBETH Can Connect to Audiences Today
Simon Godwin is no stranger to the work of Shakespeare. Until May 5, his production of Macbeth is playing in D.C. with a cast led by Ralph Fiennes and Indira Varma. The film version of this same production will hit theaters on May 2. BroadwayWorld sat down with Godwin to discuss his take on Shakespeare’s tragedy, Fiennes’ performance, and what the play means for contemporary audiences.
Review: LOVE'S LABOUR'S LOST, Royal Shakespeare Theatre
Spring brings renewed energy into the year. There isn’t a better moment for the Royal Shakespeare Company’s recently appointed Co-Artistic Directors Daniel Evans and Tamara Harvey to launch their vision for the organisation. Led by a big name that will attract new audiences who are probably younger than your typical RSC crowd, we hope Love’s Labour’s Lost is setting the tone for what’s coming. If this opening is anything to go by, this upcoming era seems to be adopting Shakespeare for a contemporary audience while maintaining the reverence for the language and the pomp of tradition.
Review: MACBETH, Dock X
'Entering Dock X for Macbeth, you are greeted by a large, dark space filled with audience members, jazz music playing as you wait for the theatre to open. Suddenly, a siren begins to wail. This is the call to enter the theatre and audience members are greeted by scenes of destruction and soldiers staring with empty eyes at the chaos around them.'
Review: DEAR OCTOPUS, National Theatre
Dodie Smith’s comedy is revived in a desaturated production that crackles with deliciously sly humour. Emily Burns directs a series of majestic tableaux that, while wordy and excessively traditional at times, offer an authentic slice of polite society. It’s not the most action-packed or dramatic piece in existence, but Dear Octopus turns out to be like a classic vintage wine: it’s sophisticated and might be an acquired taste, but it ultimately gets you jolly like only wartime entertainment can.
Cast Set For RSC's LOVE'S LABOUR'S LOST
Full casting has been announced for director Emily Burns' playful and contemporary take on Shakespeare's comedy, Love's Labour's Lost, which runs in the Royal Shakespeare Theatre, Stratford-upon-Avon between 11 April – 18 May.