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Review: RSC’s The Taming of the Shrew (2019)

Out of all of William Shakespeare’s plays, Taming of the Shrew is one of the trickiest plays to perform from the perspective of the whole creative team. The play, which at the time of writing was seen as a lighthearted comedy, could now be described as ‘problematic’ at best. The premise of the play, a ‘shrewish’ young woman, Katherine, being ‘tamed’, or more accurately, abused, by her husband into submission, would now make any modern viewer shift uncomfortably in their seat. Continue reading Review: RSC’s The Taming of the Shrew (2019)

Review: Royal Shakespeare Company: Othello

Iqbal Khan’s Othello is a haunting rendition of psychological unravelling. With a stage bathed in blue light, a set reminiscent of a gothic church, and songs performed like elegies, Shakespeare’s controversial tragedy undergoes a thematic dismantling. Khan’s Othello recontextualises the play’s depictions of brutality and injustice. Costumes wander in a realm between modern and timeless, and additional dialogue involves the multi-racial community exchanging racist insults using current language. Most notably, the dynamic between Othello and the manipulative Iago shifts, with the compelling casting choice of a black actor as Iago. Continue reading Review: Royal Shakespeare Company: Othello

Is the Face of Theatre Truly Changing?

Sustainability means eco-friendly, right? Lately, it seems that those words have become interchangeable. So, when thinking about sustainability in the theatre world we know that if theatre bars stop using plastic cups and advertisers make recyclable programmes, the industry is sustainable enough to stay afloat. In reality, sustainability in theatre is not limited to greenifying its spaces. It needs to achieve what the Theatre Trust calls ‘the triple bottom line’, meaning environmental, social, and economic sustainability. However, recently the theatre spotlight has illuminated a significant problem; that this art form no longer has a sustainable audience. Continue reading Is the Face of Theatre Truly Changing?