Shakespeare for the next generation. Wouldn’t that be nice? To be an influence for the good where Shakespeare is concerned. It’s not about us, it’s about him. All in a non-bardolatrous mold. There’s another Workshop 27th in Jerwood Space happening at the end of september.
You’re only as good as your last show
There are few shows […]
Crimson Tempest. What do you see? What do you know?
Perhaps you know it appears in Shakespeare’s play The Tragedy of Richard 2nd.
What makes a play?
We interrupt this blog for promotional purposes.
Our primary purpose of this post selling tickets to a production of Henry V at Tanner St.
3rd August: GALA Night.
50% discount for Students, […]
Henry the Fift in OP at SWP. That’s the Sam Wanamaker Playhouse. The indoor space at the Globe theatre, the lovechild of American actor Sam Wanamaker. How fitting that Ben Crystal is utilising a cast of Americans, Brits, Europeans, Indians and a Grenadian all talking in OP.
Photo Credit:Will O Hare Photography
Three days ago we […]
This post is a jazzed up recollection of things that happened. In the interest of closing one project before starting another. In the interest of recording the meeting between and memories created of actors that are more than just additions to social media. In the interest of brand new verbiage and methodological terminology
What we explored was how to create an ensemble working within the strictures of cue-script and the new-old accent of OP to see what the results would be. Those results surprised us and the audience.
Just got the call ‘Theatre about to go dark’! here at the Sam Wanamaker Playhouse. Hugely no-real-words-for-it exciting to be in this space today and tomorrow for the sonnet performance at 7pm then saturday at 12 noon for a tech/dress/first try-out of Macbeth and sunday 7pm full read/performance of Macbeth with full complement of cast
Winter’s Tale – 28th June-4th July
I’m currently directing Winter’s Tale for the E15 MA final project.
The remit given was: 90mins, in the round, ensemble, Shakespeare-deconstructed.
Being somewhat of a fan of simple, on-the-nose, straight-forward, non-concept Shakespeare, I was with it right up until the last one.
Elizabethan actors had no Stanlavski, Strasberg, Adler, Meisner, Meyerhold, Grotowski etc. type schools of thought attached to their acting. They had senses, memory, and imagination. An actor given a cue script has no context, only text.
Macbeth is about a man who should have been King but was murdered by his noble partner and supposed best friend. Or simply put: AMBITION. Or rather ambition thwarted. We know it is a tragedy and that means the title character will inevitably die.
What’s in a name?
Love this discussion about Petruchio.
In Q2 of Romeo and Juliet (1599), at what modern editors would number 3.1.90, occurs a line of type, centered and reading “Away Tybalt.” It looks like a stage direction, and is so taken by most editors. But in 1960, George Walton Williams wrote an […]