Shakespeare’s Globe
Lacks any air of mystery, foreboding or darkness: Macbeth, at the Globe, reviewed
Macbeth at the Globe wants to put us at our ease and make us feel comfortable with the play’s arcane…
Hamlet fans will love this: Re-Member Me, at Hampstead Theatre, reviewed
A puzzle at Hampstead Theatre. Literally, a brain teaser. Its new production, Re-member Me, is a one-man show written and…
The show works a treat: Globe's The Tempest reviewed
Southwark Playhouse has a reputation for small musicals with big ambitions. Tasting Notes is set in a wine bar run…
Newcomers will need to read the play in advance: Julius Caesar, at the Globe, reviewed
Some things are done well in the Globe’s new Julius Caesar. The assassination is a thrilling spectacle. Ketchup pouches concealed…
Captures the rapturous gaiety of the original: Globe's Twelfth Night reviewed
The new Lily Allen vehicle opens in a spruced-up terrace in the East End. Allen plays a self-satisfied yuppie, Jenny,…
A Shakespeare play at the Globe whose best features have nothing to do with Shakespeare
Back to the Globe after more than a year. The theatre has zealously maintained its pre–Covid staffing levels. On press…
So good and so raw that avoiding it might be the wisest course: Sea Wall reviewed
Sea Wall, by Simon Stephens, is a half-hour monologue about grief performed by Andrew Scott. The YouTube clip has been…
Willy Loman would have been fine if he’d worked in a laundry: Death of a Salesman reviewed
Colour-blind casting is a denial of history. The Young Vic’s all-black version of Death of a Salesman asks us to…
The Old Vic’s Sylvia may be the new Les Mis
Sylvia, the Old Vic’s musical about the Pankhurst clan, has had a troubled nativity. Illness struck the cast during rehearsals.…
The gentle side of Bruckner: Rotterdam Philharmonic’s Prom reviewed
It’s intelligent, enjoyable, beautiful to look at and funny in unexpected places, yet Othello at the Globe didn’t quite meet…
Keeping it in the family
A new orthodoxy governs the casting process in Hollywood. An actor’s ethnicity must match the character’s. If you extend this…
What an extraordinary debut for Emma Rice: Globe's Midsummer Night's Dream reviewed
The Globe’s new chatelaine, Emma Rice, has certainly shaken the old place up. It’s almost unrecognisable. Huge white plastic orbs…
Charles III is made for numbskulls by numbskulls
Suppose Charles were to reign as a meddlesome, self-pitying, indecisive plonker. It’s a thought. It’s now a play, too, by…
Isn’t it time we asked the National Theatre to support itself?
Isn’t it time we asked the National Theatre to support itself? Lloyd Evans says yes
The Globe's larf-a-minute Antony and Cleopatra
It’s hilarious. It’s also annoying that it’s so hilarious. Jonathan Munby’s earthy and glamorous production of Antony and Cleopatra goes…
Mixed results from the ENO and ROH in their seasonal away games
It’s been a spring tradition for several years now for English National Opera to present small-scale productions in various venues…
Thwarted love between geriatrics
This is brilliant. The new play by Oliver Cotton, a 69-year-old actor, is set in New York in 1986. An…
