Royal Shakespeare Company
Orbs and triangles
The BBC announces Merchant of Venice as if it were a Hollywood blockbuster. ‘In the melting pot of Venice, trade…
No laughing matter
The RSC’s 2014 version of Much Ado is breathtaking to look at. Sets, lighting and costumes are exquisitely done, even…
Mad for it
The longest interval in theatre history continues. Last week the National Theatre livestreamed a 2018 version of The Madness of…
On the bias
The Gift is three plays in one. It opens in a blindingly white Victorian parlour where a posh lady, Sarah,…
Smart, funny and beautifully imagined: RSC’s The Boy in the Dress reviewed
David Walliams is one of the biggest-selling children’s authors in the world (having shifted some 25 million copies in more…
Glenda Jackson might have made a magnificent Hamlet
The role of Hamlet is, Max Beerbohm famously wrote, ‘a hoop through which every eminent actor must, sooner or later,…
Racism and the RSC: why I was a sitting duck for the arts mob
Our ducks are back. Two wild mallard have spent the last five springs on the brook which gurgles past us…
Out of sorts at the RSC
The RSC’s summer blockbuster is about Queen Anne. It’s called Queen Anne. It opens at the Inns of Court where…
Man with a plan
Robert Gore-Langton meets Gregory Doran, new artistic director at the RSC
