Antic Disposition’s Tempest marks the 400th anniversary of the first recorded performance of the play before James I at Whitehall Palace in 1611. While that venue now no longer exists, the Middle Temple Hall’s direct link to another first performance of a Shakespearean play, Twelfth Night, in 1602, is crucial for maintaining historic and artistic links between the 2011 production and the Elizabethan theatre.
The Conspirators Genre: Comedy Drama Venue: Orange Tree Theatre, 1 Clarence Street, Richmond, Surrey TW9 2SA Low Down Sam Walters & The Orange Tree Theatre’s relationship with Vaclav Havel reveals a long and fruitful history, so its fitting that the artistic director stages the UK premiere ofThe Conspirators to begin the theatre’s […]
Wittenberg Genre: Comedy Drama Venue: The Gate Theatre (Above the Prince Albert Pub) 11 Pembridge Road, London, W11 3HQ Low Down The programme verifies that the location before me represents Wittenberg, a place that changes the history of European Christiandom when in 1517 Martin Luther nails 95 theses (arguments) to the Castle Church door […]
Seemingly Invisible Genre: Puppetry Venue: Blue Elephant Theatre 59a Bethwin Rd (entrance in Thompson’s Ave) Camberwell London SE5 0XT Low Down Seemingly Invisible delicately weaves a set of stage images around six characters who through chance encounters find different kinds of relationships, not necessarily with each other. A busy street: a young man […]
Camden Fringe 2011 Genre: Children’s Theatre Venue: Shaw Theatre 100-110 Euston Road. London NW1 2AJ Low Down Filskit Theatre’s production of Snow White portrays the character of Snow White as a real girl – as opposed to the black haired – white skinned character of Disney’s cartoon – who is fortunate enough to survive […]
Mae Naak Genre: Opera and Operatic Theatre Venue: Bloomsbury Theatre , Gordon Street, London WC1H 0AH Low Down Opera Siam’s European premiere production of Mae Naak at the Bloomsbury last night, by composer and librettist Somtow Sucharitkul (aka S. P Sowtow), proves that it continues to engage audiences all around the world. First staged […]
As an unknown theatre historian who had come to London to re-think her own place in teaching, researching and creating theatre, I am excited at the prospect of seeing the 2009 production of Waiting For Godot. The £47 I spend on the tickets is the most I’ve ever spent on tickets. I read the reviews and seeing the favourable reactions, I conclude that it must be a monumental interpretation of a most challenging play. I so set off to see how four notable performers deal with the central problem which the play presents for actors of not acting, of doing nothing but wait.