Shakespeare
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We three. Macbeth is synonymous with that opening scene with the ‘we three’. They swoop in, landing us into the story with a bang as they double double, toil and trouble, fire burn and cauldron bubble… They drop a bombshell, but then they largely step aside as the main players take it from there. Not
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Or Aviva Studios. But Factory International above all else. So I’m going to go in on this straight off, as I tried it out, once. Wizard of Oz and Pink Floyd’s Dark Side of the Moon. The gig is that there’s an incredible synchronicity in theme, tone, tempo and narrative if player out simultaneously. Completed
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Use the noun shrew — at your own risk — to refer to a woman who is argumentative, nagging, and ill tempered. Vocabulary.com Now then, eh? Shakespeare you scallywag with your seemingly misogynistic titles for your plays, you. And your themes of gender hierarchy and ideas that the woman should always be submissive to the man. Who
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I’ve had a rather Shakespearean run over the last few weeks. Bard-heavy, you might say? I say, that with productions of Romeo and Juliet and Falstaff in Manchester (and a quick return visit to Shakespeare country, Stratford-upon-Avon itself), it’s been a joy to immerse myself in texts which are classically brilliant in their origins but
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I write this swathed in aptness as I prepare for a return to Shakespeare country; Stratford-upon-Avon this weekend. The weekender was originally intended to be more Butlins, Black Grape and Boo Radleys, and altogether less Bard, but when flooding takes out your chalet, substituting a Shiiine indie festival for Shakespeare felt the obvious move. But
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It was the late, great, Mr Manchester himself, Tony Wilson, who said if it’s between the truth and the legend, print the legend (someone else said it first but all should defer to Tony). I’m a sucker for legend. It’s always more fun. The Bard must have listened to Tony Wilson (I know, but like
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I love Prokofiev’s score, Shakespeare’s story, and I love going to the ballet. So with all ingredients in place, it is natural that I have seen multiple ballet productions of Romeo and Juliet in the past and either because of or despite this, I happily wanted to see the latest brought to Manchester; this time by the Moscow
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Or should that be a production of two plays? Or a production of two halves, each one a play? But are they two plays? In this world premier of the HOME and Lyric Hammersmith co-production, they are two, yet they are one. And I shall tell you for why. The plays (when discussing Othello and
honorary manc 