I saw a lot of theatre last year, specifically 14 Shakespeare productions! I thought I would celebrate my first year in the UK by talking about all of the fantastic Shakespeare I saw and ranking them! So much exciting theatre is happening in London and it gives me great hope for the future of Shakespeare in performance!
So let's get to it!
14. Truth’s A Dog Must To Kennel By Tim Crouch Battersea Arts Centre
This wasn’t actually a Shakespeare production, but a one-man-show featuring the Fool from King Lear with a VR headset. I’ve seen a lot of experimental and postmodern theatre/Shakespeare before, but this was certainly one of the strangest. Tim Couch’s understanding of the text and his character work are truly remarkable, and while this production might not have been everyone’s cup of tea, it was incredibly thought-through. One-man-Shakespeare is a genre that really interests me, and it’s incredibly challenging to pull off; so regardless of how absurd it might have been, it was still impressive and moving. I’m looking forward to seeing more of Tim Crouch’s work this winter in the Sam Wanamaker Playhouse with another of his one-man-shows, “I, Malvolio.”
13. As You Like It Directed by Ellen McDougall Shakespeare’s Globe
This was such an endearing and joyous production. I really enjoyed the simplicity of it, it felt like a very traditional use of the Globe’s playing space. Ellen McDougall really leaned into the freedoms presented by the Forest of Arden and the possibilities that reside there, which created a lot of room for self-discovery and reflection for the characters. Rosalind’s final epilogue was cut from this production and replaced by an interpretive dance, which checks out for her as a character , but I really think that speech is special, and Rosalind deserves those final words after all her hard work! Honestly, give her the speech AND a dance! As You Like It is one of the most musical of Shakespeare’s plays, but this production opted to use new music and lyrics to fit the directorial vision. I would’ve liked to have seen more of Shakespeare’s poetry being used in the music, but it was still fun!
12. A Midsummer Night’s Dream
Directed by Elle While
Shakespeare’s Globe
This one was a special experience because I had the privilege of taking Ella Lavinia to see her first ever Shakespeare show, AND in the environment Shakespeare wrote for! This was an excellent production which put a lot of emphasis on the darker elements of this play, especially through Michelle Terry’s haunting interpretation of Puck. I thought Mariah Gale’s Bottom was absolutely brilliant. I’m a big fan of her work generally, and she truly breathed so much life into Bottom! She brought some major Rachel Berry energy to the role, and I was here for it. I loved Helena’s rejection of Demetrius during the final jig, I thought it was a nice final touch that gave her the last word, which she deserves.
11. The Tempest
Directed by Sean Holmes
Shakespeare’s Globe
While this production might have featured the same cast as Much Ado About Nothing, the two shows could not have been more different. Holmes utilized some postmodernist and environmentalist themes to help guide this production. The concept had a lot to say, but I think some of its poignancy got lost in the comedy. The cut of the text was particularly well-done, especially considering the many difficult themes in this play.
10. Shakespeare in Westminster Abbey
Directed by Darren Raymond
Produced by Shakespeare’s Globe in collaboration with Intermission Youth
I have always said that Westminster Abbey is one of my favorite places on Earth, and what an incredible experience it was to witness Shakespeare-on-location there! Not only was it mind-blowing to hear his words echoing off the magnificent walls, but getting to watch “once more unto the breach” in front of the tomb of King Henry V, for example, was SO COOL! It was the most magical hour, exploring the Abbey while getting to watch some of my favorite Shakespeare come to life all around. It wasn’t just excerpts from the Histories being performed, but moments from all of his works (including Sonnets)! It’s remarkable what parts of the text stick out to you at different times of your life or based on your current environment. I found this performance to be refreshing and thought-provoking in ways I never expected.
9. Twelfth Night -For One Night Only-
Directed by Blanche McIntyre
Shakespeare’s Globe
What a way to celebrate my 1 year anniversary of moving to the UK! To celebrate the #Folio400 Shakespeare’s Globe put on an ultra-live experiment production of Twelfth Night done in original practice; meaning minimal rehearsal time, limited blocking, and the actors learned their lines via cue scripts! This created such a uniquely hilarious and active performance that would be nearly impossible to replicate. Rehearsal practices have changed greatly since the early modern period- mostly for the best- but it is so interesting to see Shakespeare done in the environment and conditions it was written for. Most of what we have learned about original practice comes from the work of the Globe, so it was really special to get to experience it live.
8. Cymbeline
Directed by Gregory Doran
Royal Shakespeare Company
Cymbeline is absolutely one of my favorite underrated Shakespeare plays, I’d even go so far as to put it in my top 5 all-around. It’s like one giant mashup of all the tropes and complications Shakespeare could’ve possibly come up with, so what’s not to love? It’s pure chaos! This production was really simple and traditional. The cast was excellent, the costumes and sets were gorgeous, and it was overall just well-done. It was simply beautifully done, high-budget Shakespeare, and there’s absolutely nothing wrong with that. Sometimes it’s nice to get to enjoy the text and story without added layers of commentary and concept, but I do think it’s a balance. There’s a time and place for both uses of Shakespeare, and in this case, simplicity was the goal. Definitely worth the trip out to Stratford Upon Avon!
7. Othello
Directed by Clint Dyer
National Theatre
This was my first time seeing Othello live and it did not disappoint! I was obsessed with the set design and the ensemble’s use of space. Dyer treated the ensemble like a Greek Chorus, which Iago used to create a real jarring mob-mentality against Othello. The pre-show projection of dates and janitorial “business,” paired with the final image of the play, created such a cyclical feeling, which is quite fitting for a play that sadly remains relevant in the 21st century. The cast in this production was exceptional. Iago was certainly a highlight, and I will never recover from Desdemona’s line-reading of “oh these men, these men!” Absolutely visceral.
6. Much Ado About Nothing
Directed by Lucy Bailey
Shakespeare’s Globe
I really loved this production, it was practically perfect in every way. Set in April 1945 in Italy, this setting perfectly aligns with the stakes of Shakespeare's original play. The music, direction, cast, and overall vibes of this production were immaculate. I laughed so hard I cried, and I cried when I least expected it. I ended up seeing this production twice, and it was just as incredible the second time. Lucy Phelps as Beatrice and Ralph Davis as Benedick were perfectly matched, and Katy Stephens' performance as Leonata was a masterclass in acting.
5. Julius Caesar
Directed by Atri Banerjee
Royal Shakespeare Company
My first trip to the RSC- the best birthday gift ever (Adam Schroeder)!!! I’ve always been a huge fan of the RSC, I think they do such incredible work, and this production was no different! Conceptually, this play was so interesting. Setting it in a more corporate world with ink stains instead of blood, the use of color in this production was striking and effective. Annabel Baldwin’s Cassius was by far the stand-out performance of the show- oh! Did I mention Brutus and Cassius were both played by Women? LOVE IT! I loved the way the color palette, set, and costumes began to evolve and deconstruct throughout the second act. Banerjee’s use of dead characters was absolutely my favorite part, it was so effective and crested such powerful imagery. I also just loved how the Caesar ghost scene was directed, it was so unique and really showcased the relationship that Caesar and Brutus had, something we don’t always get to see. All in all, the RSC does the coolest work!
4. Richard II
Directed by Anna Coombs
Omnibus Theatre
A fascinating black box production with a just a set of ladders and lighting. Richard II is one of my favorite Histories, and features some of Shakespeare’s best speeches. This specific adaptation featured just 5 actors and drew on the practices of South African Township theatre. The specific cut of this adaptation was especially well done, the cast were truly excellent, and the visuals were deeply striking. Certainly one of the coolest productions I saw last year.
3. Henry V
Directed by Holly Race Roughan
Sam Wanamaker Playhouse | Shakespeare’s Globe
I am beyond obsessed with everything this production did. It received mixed reviews due to its less traditional directorial concept, but I thought its commentary on British Empire and Colonialism were poignant and clever. BOLD choices were made in this production, starting with Oliver Johnstone’s morally-grey interpretation of Henry V. Holy wow can that man act!!! He schemed, manipulated, and intimidated his way through the play, which was such a unique take on this famed hero of England. The design was gorgeous, with green fabrics and gold walls all in candlelight. The choice to begin with the death of Henry IV (from the end of Henry IV part 2) was brilliant in informing the darker tone of this production. Of course I have to talk about the ending of this play with Katherine. Oh wow was I taken-aback and shocked by their blatant commentary on the immigration system here, and the gut-wrenching scene that unfolded before me. As someone who is currently going through immigration processes in the UK, I couldn’t help but notice that the rest of the audience might not have caught on to the darkness behind the absurd humor playing out before them. I left utterly shook to my core, while others scoffed and laughed at what they perceived to be an anti-climactic ending to quite a Nationalist play. This production was by no means the Nationalist celebration that Henry V usually is with its “Cry ‘God for Harry, England, and Saint George!”; and I understand that that might not be everyone’s cup of tea, but for me personally, this production knocked it out of the park.
2. Henry VIII
Directed by Amy Hodge
Shakespeare’s Globe
What a unique production! I don't normally love this play (it doesn't get performed very often, and probably for good reason), I find it quite boring compared to Henry VIII's real story, but this production... WOW! Henry VIII's story and this play are traditionally drenched in misogynistic ideas, but this adaptation truly placed women at the center of the story. With added original music, bold choices, and textual additions from other parts of the Shakespearean canon, this production will stick with me for a long time to come. I can still hear the haunting compositions in my head a year later. It's also particularly interesting to note that Shakespeare's Henry VIII ends with the birth of Queen Elizabeth I, and this production was staged during Queen Elizabeth II's Platinum Jubilee Celebration. Now, I saw this production following the Queen's passing, and the production certainly lended itself to be a celebration of Queen Elizabeth's (I & II's) power and strength, so it was quite a memorable experience getting to witness it at such a specific moment in history.
1. Titus Andronicus
Directed by Jude Christian
Sam Wanamaker Playhouse | Shakespeare’s Globe
This is hands down one of my favorite things that I have ever seen… I went back and saw it twice! I know that liking this play to the extent that I do makes me strange, but I just find this play so compelling and complex despite of (or maybe because of) it’s jarring violence and themes. This play has to much to say about humanity, power, women, and revenge (duh). It often times gets brushed aside due to its violent nature, but I think that’s all the more reason to produce it, “to hold as 'twere the mirror up to nature."
Firstly, the candlelit Sam Wanamaker Playhouse is the perfect venue for this deadly play, and this production was an all-female cast set in a Squid Games-like horror reality. Instead of using physical violence and blood on stage, they used candles to represent a character’s life, loss of limbs, and inevitably loss of life (the play’s 400 years old, sorry not sorry to spoil it). When a character died, their candle would be blown or snuffed out- literally like Survivor (which I guess is not a bad second title for this play). One element of the live theatre aspect of this production I loved so much, was that if an actor’s candle accidentally went out, the play would stop and the cast would watch as the actor re-lit her candle and then resume as if nothing had happened. There was a certain ritualistic element to it which I loved.
This play is generally really difficult to watch, it’s horrifically violent, but by using candles to represent violence, it was made more pallatable and symbolic, which in this case made it more powerful. I absolutely loved how funny they made this play. The dark comedy just suited it so well, and was only made better by the original and darkly comedic show-tunes. It was literally all of my favorite things: Titus Andronicus with an all-female cast, in candlelight, and with showtunes. What could possibly be better?
The all-female cast is particularly poignant for this play, seeing that it features the single most horrific female-inflicted violence against another woman in all of Shakespeare (if you can’t tell, I’ve written multiple papers about this). The two women in this play, Tamora and Lavinia, are the epitomes of the two main archetypes of women according to early modern and renaissance tradition, so it was interesting to see the stage dominated by women in this story. Again, it made a *particular scene* far more palatable, which allowed for the comedy to not feel grossly inappropriate.
Katy Stephens’ Titus was quite literally EVERYTHING! I’m a big fan of her work generally, but her Titus was just remarkable. I said it in the Much Ado post last week, but every performance of hers is a masterclass in acting. All in all, this was truly a perfect production-in my opinion-, and hands down my favorite thing I saw last year.
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