"Why stage Romeo and Juliet a year into a global pandemic? Godwin’s primary response to the pandemic appears to be the focus on touch in the production: it reminds us of the power of human contact, and the depth of feeling that can only be experienced in person." Katie Kirkpatrick reviews the new National Theatre production of Shakespeare's classic tragedy, Romeo and Juliet.
Magic lends itself well to the online format. It is a play of voices, of witty exchanges and mystifying, unseen events. The audience is called on to construct the setting from their imagination, inspired by the actors and the sound effects, resulting in a final product which is a collaboration between players and listeners.
No sympathy laughs from your mate when the joke doesn’t quite land; no in-jokes to fall back on; no new haircut to make fun of. Comedy is a savage mistress.
The effect of light is upon the unconscious, unacknowledged unless you are thinking about it, but it’s influencing you all the same.
Perhaps the biggest debate surrounding ‘gender-blind and colour-blind’ casting (with which actors are cast regardless of the traditional race/gender of their role) is the...
"Stage Wrong’s performance draws us into the dysfunctional, haunted world of the Rice family and insightfully pulls apart their fractures." Alice Williams reviews The Entertainer at Keble O'Reilly.
Want to be a fantastic actor? All it takes is method acting, audience empathy and a pursuit of the fantasy world.
Lawrence Li is impressed by the National Theatre’s opulent imagining of a Shakespearean classic
The multilingual reimagining of the Christmas Truce at Leeds Town Hall feels particularly timely
Dorothy McDowell sees potential in livestreaming theatre, but it still fails to reach a mainstream audience