All’s Well That Ends Well, Royal Shakespeare Theatre

by Michaela Clement-Hayes

Although often deemed a ‘problem play’, All’s Well That Ends Well can also be said to be progressive. Our heroine gets a lot of stage time, soliloquies and – for want of a better word – sass.

And yet, some of the characters are lacking. We may never know why Shakespeare chose to write them as he did, but (and perhaps because we are not 100% sure of the final play) the idea that Helen and Bertram live ‘happily ever after’ because she’s carrying his child is a bit ridiculous.

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The Magician’s Elephant, Royal Shakespeare Company

Vibrant, joyous and fun' - The Magician's Elephant at RSC reviewed - Sarah  Probert - Birmingham Live

by Michaela Clement-Hayes

Everyone deserves a happy ending, and as we head towards the festive season, messages of hope and forgiveness start to provide us with a real sense of magic. This is perhaps what the RSC is tying to do with its winter production of The Magician’s Elephant, based on Kate DiCamillo’s book. A young orphan is told by a fortune teller that he will find his sister if he follows the elephant. But there has never been an elephant in Baltese…or has there?

It’s a fairly traditional arc, with our suffering hero going on a journey of discovery, helped and hindered by plenty of interesting characters. It begins with a mesmerising opening scene. A magical narrator (Amy Booth-Steel) introduces us to the town and her sleight of hand provides ripples of anticipation and excitement around the theatre.

Our hero Peter (Jack Wolfe) is excellent. Naive and curious with an excellent voice and stage presence, he is totally believable as a young boy looking to belong. The police chief (Forbes Masson) provides the comedy, while the young couple (Melissa James and Marc Antolin) guide our hero on his quest. Antolin and James are wonderful to watch. Their chemistry is genuine, but their sadness is heartbreaking; in spite of this their concern for Peter is very natural and touching. Summer Strallen plays the ‘villain’ – a spoilt, childlike countess who is incensed that the elephant’s arrival has stopped people talking about her. But the real star is of course the elephant, which is an impressive feat of stage design and incredibly realistic. The lighting works well to create a mysterious ambiance which is effective and intense.

It’s a lovely story, with simple songs that children will enjoy and a nice sprinkling of humour for the adults. Although a good production, it feels quite safe and there’s little to make it stand out from other musicals. At times it is very hard to hear some of the actors, especially those speaking quickly. There are also certain topics that make the story very dark in places and almost unsuitable for very young audience members. That said, this is still a magical production that leaves you with a fuzzy, festive feeling of joy.

The Magician’s Elephant runs through 1 January.

The Play’s the Thing UK is committed to covering fringe and progressive theatre in London and beyond. It is run entirely voluntarily and needs regular support to ensure its survival. For more information and to help The Play’s the Thing UK provide coverage of the theatre that needs reviews the most, visit its patreon.

The Comedy of Errors, RSC

The Comedy of Errors review – glorious fun in the RSC's garden | Theatre |  The Guardian

by Michaela Clement-Hayes

A man may break a word with you, sir, and words are but wind;
Ay, and break it in your face, so he break it not behind.

It is a brave author that uses the word ‘comedy’ in the title of a play. Expectations are high, humour is anticipated and disappointment likely. Happily, this is not the case with the RSC’s current production of William Shakespeare’s The Comedy of Errors: a tale of mistaken identity and separation (of two pairs of twins) at birth. 

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Feature | Henry VI Part One: open rehearsal project

Cast revealed for RSC's Henry VI Part One: Open Rehearsal Project |  WhatsOnStage

By Diana Miranda

The Royal Shakespeare Company flung open their locked playhouse doors with a new project that engaged audiences in a socially distanced but immersive manner: they put the making process of a play online for anyone to watch. From 1- 13 June, audiences (or rather Vimeo viewers) could join the cast and creatives of Henry VI Part One every weekday for live streams of the company’s morning physical and voice warm-ups, lunchtime rehearsals, and evening green rooms that answered audience questions and allowed the team to expand on their crafts, normally kept behind the scenes. All the live streams were available to watch until 25 June. If uncovering a rehearsal process doesn’t sound unconventional enough, the show did not hit the stage boards. Instead, the final performance consisted of a live-streamed, rehearsal room run-through from the RSC’s Ashcroft Room on 23 June.

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Snow in Midsummer, Swan Theatre

In 2012, The RSC drew ire for its Orphan of Zhao casting in which there were a whole three East Asian actors. Though the production went ahead, RSC artistic director Greg Doran showed willing to listen and bring about change, meeting with Equity’s Minority Ethnic Members Committee. Now, Frances Ya-Chu Cowhig’s modern adaptation of a Chinese ghost story with an entirely East Asian cast is on stage at the Swan. It’s commendable progress even though there’s still a long way to go in British theatre.

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Revolt. She Said. Revolt Again., Edinburgh Festival Fringe

Playwright Alice Birch wants to start a revolution. Revolt. She Said. Revolt Again. seeks to challenge the patriarchal language and social structures that hold woman second place to men. Being polite and socially acceptable isn’t going to achieve this, and the marketing material states that this play is not well behaved.The issue is that it is. The collection of scenarios with chaotic climax and resigned footnote of an ending starts out strong, but quickly loses sight of its goals through a lot of talking but few suggestions for effective action.

The first scene between a heterosexual couple is the most effective as he talks about all the things he wants to do to her body, and she corrects his language from one of his ownership to one of hers. The subject matter is provocative, funny and establishes a model that women can actually use. It’s not badly behaved, though – it’s polite, considerate and a bit uncomfortable, but not revolutionary. Subsequent scenes have less of a practical application; this isn’t a problem in and of itself, but these scenarios are much less of a catalyst in a show about taking action. There is some rejection of social convention, but little seen as radical. A culminating babble of voices largely indistinct from each other goes on entirely too long and due to the challenge of deciphering specific lines has little impact.

A cast of four, three women and one man, play a range of characters though disappointingly, the characters are middle class and English. Surely the issues that are presented – the language of sexual domination, consent, reproduction, family, flexible working – effect working class people as well.

Madeleine Girling keeps her set simple and efficient, using only items that are fully functional to each scene. Lighting designer Claire Gerrens creates angular, starkly delineated spaces that support the simple demand for equality and empowerment.

Birch certainly uses language well and constructs dynamic, interesting characters but the lack of much motivating material creates a lot of bluster with little change. The script also avoids any issues of intersectionality, particularly social class and race, even though one of the actors is black. Her goals are certainly admirable, but Revolt. She Said. Revolt Again.? More like have a chat and then carry on with your life.

Revolt. She Said. Revolt Again. runs through 28th August.

The Play’s the Thing UK is committed to covering fringe and progressive theatre in London and beyond. It is run entirely voluntarily and needs regular support to ensure its survival. For more information and to help The Play’s the Thing UK provide coverage of the theatre that needs reviews the most, visit its patreon.

King & Country, Barbican Centre/RSC


Shakespeare’s history plays are some of his best. Epic tales with tragedy and comedy, love and war, politics and history are brought to life on stage, with the storyline of some characters spanning years and multiple plays. The RSC and Barbican have, over the last few years, presented the first four as separate productions but to celebrate the 400th anniversary of Shakespeare’s death this year, unite them as a single ticket. King and Country is Richard II, Henry IV part i, Henry IV part ii and Henry V is a marathon package deal of roughly twelve hours of theatre (plus intervals) spread over several days. A large ensemble cast play all roles across the four plays, with the same actors satisfyingly playing the same parts that stretch across multiple productions. Set and design also carry through; this quartet is slick, engaging and brings together original and contemporary practice.

Big names in the cast are an initial draw and live up to their hype (David Tennant, Antony Sher, Julian Glover), but the thirty-strong ensemble are just as good, if not better. Sam Marks as Aumerle, Poins and the Constable of France is excellent, particularly as Prince Hal’s laddish sidekick with a magnetic energy that bounces around the stage and fills the 1,156-seat theatre with youthful vigour. Matthew Needham comically interprets Hotspur; random, extreme outbursts get laughs, making the character’s tragic flaw the reason for his defeat. He also plays Mowbray and Shadow, the latter being a minor role but played with such commendable contrast that he is unrecognisable. Jennifer Kirby is a feisty Lady Percy and a naughty and nice Katherine, endowing both small roles with heaps of personality. The best comedic performances include Oliver Ford Davies as Shallow (also a fantastic Duke of York and Chorus), Emma King as Doll Tearsheet, Sarah Parks as Mistress Quickly and Joshua Gardner as Fluellen.

Tennant is just as exquisite as Richard II as two years ago, and Jasper Britton’s Bolingbroke/Henry IV is endowed with pathos, guilt and an extraordinary character journey. Alex Hassell is delightful as the devil-may-care Prince Hall, but his quieter, matter of fact Henry V is sensitive but less dynamic. He aims for intimacy rather than bombast and arrogance, a unique interpretation but one that is not overly effective due to a lack of power, particularly in his famous speeches. Antony Sher nails Falstaff’s characterisation, but his even, rhythmic delivery lacks variation and harks back to the old fashioned declamatory RSC stage speech – hugely disappointing.

Stephen Bromson Lewis’ set is the same as it was for Richard II’s performance two years ago and has little variation over the four productions. Paired with Tim Mitchell’s lighting, the audience sees austere courts, earthy battlefields and debauched public houses that don’t interfere with the action. The acrylic floor of under lit ploughed furrows is the surprise of the event, not viewable from the stalls closest to the stage but adds a striking dynamic and atmosphere from the gods: a delight for us peasants with the cheapest seats. Costumes (presumably also by Lewis) hint at a time period, but have a contemporary, minimalist touch that please the eye but not dominating.

There are some odd directorial choices by Gregory Doran in these otherwise stunning productions. Rumour (Antony Byrne) is in contemporary dress, accompanied by a projected digital cascade of hashtags and “rumour”. The Chorus (Oliver Ford Davies) is similarly dressed, which makes sense with the text. The token technology reference? Much less so. These are jarring in their modernity, unneeded and contribute nothing to the meaning and aesthetic of the plays. He misses an opportunity to put Henry V on the elevated walkway heavily used in Richard II; instead he lowers him to a wooden cart and diminishes the gravity of the St. Crispan’s Day speech.

It was an utter joy to see Doran incorporate audience interaction; even though there weren’t many of these moments. They unite the audience and actors in a love for Shakespeare’s work, bringing everyone together in a celebration of living, breathing theatre rather than maintaining a distant reverence for it. Henry V’s adorable insecurity in the presence of French princess Katherine leads to asking the audience for advice, and Hassell’s corpsing during a pub scene as Hal (when an audience member loudly blew his nose and another actor acknowledged it within the action) was a delight. His easy confidence with this style of performance clearly stems from his early work with The Factory and The Globe; Doran should have exploited this more, particularly during the character’s youthful exploits. The audience could have easily been his army or his mates down the pub more often.

Though RSC productions have often missed the mark in the past, these four are almost as on it as they can get. They do not force a modern concept that only tenuously relates to the themes in the script, but they are not stuck in a stilted, stuffy style of yore. Doran’s productions are unified, alive and vibrant with stellar design and performances. Here’s hoping they see life in the UK beyond this Barbican run and their international tour this spring.

The Play’s the Thing UK is committed to covering fringe and progressive theatre in London and beyond. It is run entirely voluntarily and needs regular support to ensure its survival. For more information and to help The Play’s the Thing UK provide coverage of the theatre that needs reviews the most, visit its patreon.