Amelie Bhaluani reviews the National Theatre’s production of ‘Romeo and Juliet’, a timeless classic retold and reimagined for a live-theatre TV screening.
Francesca Duke reviews the 2018 Bridge Theatre production of Shakespeare’s ‘Julius Caesar’, available now on the National Theatre at Home streaming service.
Zoe Lambert reviews the National Theatre’s Twelfth Night, a passionate and explorative gender-fluid production.
Francesca Duke reviews August Strindberg’s heady existentialist drama, and takes a closer look at whether its reimagined setting is entirely successful.
Leona Crawford reflects on the brittle brilliance of Carrie Cracknell’s production of The Deep Blue Sea. From the performances, to the costumes, to Tom Scutt’s haunting set design, she explores the lingering images of this bold National Theatre revival.
As Benedict Cumberbatch said when interviewed, “this production is creature-centric”. By consequence, Danny Boyle’s Frankenstein is novel-centric too, retaining all of the subtlety and genius of Mary Shelley’s gothic classic. Frankenstein’s creature (played by Cumberbatch) is born into the warm womb of bright red stage lighting. His limbs protrude and rip through a veined membrane. When he emerges he Read More…
If you’re looking for some light escapism with a hint of nostalgia, or honestly can’t hack revising for collections, Treasure Island is one to watch.