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CHTO DELAT? On walking in, one is bombarded with imagery, words and colour, newspapers (the collective’s published work - also available as handouts) line the base of the wall, and drawings are scattered across the white gallery wall where a woman with a fox’s head asks ‘Do you mind if I perform a history dance?”
OLIVIER THEATRE: Toby Stephens is at his imperious best as the swaggering, eponymous hero while Eliot Levey very nearly steals the whole thing with his complex, compelling portrait of a sociopathic Robespierre.
REGENTS PARK: A musical amalgamation of fairy tale characters in which Red Riding Hood encounters Cinderella, Rapunzel, a witch and a bigger, badder Wolf than most of us will remember from childhood.
OLIVIER THEATRE: Moira Buffini’s Welcome to Thebes re-imagines the disastrous aftermath of the fall of Oedipus in a 21st century environment by replacing Theban King Creon with his wife Eurydice.
FINBOROUGH THEATRE: 'Lingua Franca', Peter Nichols’ play at the Finborough theatre until 7th August, follows the fortunes of Steven Flowers (antihero of 'Privates on Parade') in fifties Florence.
SHAKESPEARE'S GLOBE: The Henry IV plays are not really about the eponymous King. They explore the making of a monarch by following Prince Hal, the future King Henry V, from his wild youth under Falstaff’s wing through redemption, relapse, coronation and final repudiation of his old friends at the end of Part Two.
Morte d’Arthur tells of the sword in the stone, the consolidation of Arthur’s positon as King of Britain and the establishment of the round table.
SHAKESPEARE: Caught between desire and duty Antony and Cleopatra's affair shook the foundations of the world. Power politics and passion collide in Shakespeare's captivating tragedy.
TIM SHEADER'S OPEN AIR THEATRE: Arthur Miller’s classic is so engrained into the collective consciousness that I had lazily assumed I must have done it for GCSE, or maybe even played a minor puritan in a school production, but memory definitively says otherwise and, seeing it for the first time, I was taken aback by how good it was.
BARBICAN THEATRE: David Greig’s new version of 'Peter Pan' is a lot closer to J.M. Barrie’s novel than the hazy, Disneyfied idea of the story that we carry around in our collective consciousness.
OLIVIER THEATRE: In the event that Prince William's squeeze Kate, joins the British Royal Family her story will begin to resemble that of Bianca in Thomas Middleton’s 'Women Beware Women', currently in the Olivier at the National Theatre.
SHAKESPEARE'S GLOBE: 2010’s ‘Kings and Rogues’ season kicks off with Lucy Bailey’s 'Macbeth' of the damned: the Globe’s structure is perfectly suited to Dante’s seven circles of hell, right down to the Pit where the witches terrorise the groundlings before the play begins.
THE COURTYARD THEATRE: The tone is set for Goold’s Verona - in 'Romeo and Juliet' - in the violent opening scene: dark figures grapple with each other amidst tongues of flame on a black, oppressive stage and Benvolio is almost burnt alive by Joseph Arkley’s ferocious Tybalt.
It is a shame all productions of Shakespeare aren’t like Cheek By Jowl’s Macbeth in the Silk Street Theatre at the Barbican.
4.48 Psychosis, at the Barbican Theatre this week is Sarah Kane’s last play, written at the very end of the 90s and her life.
There is no Hollywood ending in David Farr’s RSC Lear at the Courtyard theatre in Stratford-on-Avon.
Different rules apply to a conceptual three-parter like Lone Twin’s Catastrophe Trilogy, currently in the Pit theatre at the Barbican.
11 and 12, directed by Peter Brook, is a 100 minute meditation on religious tolerance.
Nic Green’s stirring and very moving Trilogy, at the Barbican last weekend, wears its message firmly on its often naked sleeve.
ROYAL SHAKESPEARE COMPANY: An adaptation of a classic book for stage or screen is usually greeted with howls of protest from fans of the original over the omission of beloved passages or the spurious insertion of jarring modern dialogue.
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