Macbeth, Young Vic *****

I came in to the Young Vic feeling apprehensive. Their previous Shakespeare was less than entertaining and this was another proscenium arch production in a space which is clearly best suited to thrust and in-the-round productions. However, as I started I instantly felt comfortable that Carrie Cracknell and Lucy Guerin knew what they were doing. This Macbeth combines the text with superb choreography which intensifies the supernatural elements of the drama. Ana Beatriz Meireles, Jessie Oshodi and Clemmie Sveaas especially are wonderfully unsettling and physical as the three witches who, in this production, appear to manipulate Macbeth's descent into madness rather than being done by Macbeth's own greed and ambition, shown through their almost continuous presence in the drama. Lizzie Clachan's design also demonstrates Macbeth's fate being pre-determined and his being trapped in yet another striking and ingenious design from Clachan, who is demonstrating the huge talent of designers in modern theatre that is staggering in quality. Neil Austin too has become the go-too guy for great lighting design and he excels here, both concealing the truth and, especially in the banquet scene, contrasts between Macbeth's mind and the action. Performances are immense. Anna Maxwell Martin is a formidable Lady M, not falling into the villainess trap, with her silences meaning as much as her words, which are conveyed with passion and elegance. John Heffernan is quickly turning into my favourite actor with an incomparable gift for maintaining a rhythm and technique whilst portraying pure truth. In Oppenheimer, his performance rescued what, in my opinion, was a flawed production. Here, his talent is allowed to blend in and fuse with perhas the strongest ensemble I've seen this year. Prasanna Puwanarajah also wonderful as Banquo and the casting of his son Fleance is thought provoking and an inspired directorial decision. This is one of the shows of the year and shows that the Young Vic haven't lost their ability to punch above the heavy weights with this gem of a tragedy. (Genuinely awful programmes though. Even worse than the Dorfman one. One tiny article and some biographies simply isn't good enough for three pounds!)

Henry V, Barbican Theatre ***

Greg Doran's history cycle is completed by Alex Hassell returning to the role of Hal post-adolescence as a serious and focussed Henry, signalled by the death of Falstaff at the beginning of the play. Doran really needs to drop the apparent reverence for Shakespeare as it is resulting in academic and dated productions that make no attempt to engage or excite an audience. There seems to be little change here with some soliloquies feeling like a drab recital of verse and even the highly comedic scene between Katherine and Henry feeling laboured and a touch plodding. On the other hand, the ponderous nature of this cycle of history plays suit Henry V better than Henry IV. Alex Hassell lacked the youthful energy that a good Prince Hal must have but is a greater Henry because of it. His tone may not be quite right for the big speeches yet his detached and aloof style of acting works in showing the isolation of the king. The older actors are the better ones here, injecting life into the play. Oliver Ford Davies is wonderfully comic as the chorus and he sounds like he has properly understood and interpreted Shakespeare's text unlike many of the cast. Jane Lapotaire is also a delight as Queen Isobel. Paul Englishby's music is probably the finest in straight theatre at the moment, with his Te Deum here creating extremely powerful theatre whilst his continuation of Prince Hal's theme from Henry IV is rousing and special to listen to. His music is the highlight of the evening along with Stephen Brimson Lewis' design which both exposes the mechanics of the operation for chorus scenes and has a sense of grandure and elegance which makes the evening special. This play show signs of breaking free from the restrictive and dated staging of Shakespeare, creating an evening not without it's exciting moments.

As You Like It, National Theatre *****

There is no better way to see Shakespeare than at the National on the Olivier stage. As You Like It is a prime example of this. Prolly Findlay has created a truly definitive production of this play that truly sets the standard for modern adaptations of Shakespeare. The duke's court is some sort of environmental office which is brightly coloured and busy. Here, Orlando is a cleaner who beats the wrestler in a wrestling match held inside the office. The change from office to Arden is one of the most extraordinary things you will ever see in a theatre. Calling it awe-inspiring sells it short. Lizzie Clachan shows off the amazing abilities of the Olivier whilst also not stealing the limelight from Shakespeare's text. Orlando Gough's music is disjointed yet oddly catchy, adding to the atmosphere which the company helps by creating woodland noises and becoming sheep in one quirky sketch. Performances all round are as good as you get. Rosalie Craig makes the transition from musicals to straight theatre magnificently, maintaining her unique charisma in an utterly magnetic, compelling and strong performance as Rosalind whilst Patsy Ferran is as delightful as always in the part of Celia. Joe Bannister makes the most of an unforgiving and blandly written Orlando, injecting life into the part. Mark Benton is a jaunty Touchstone whilst Paul Chahidi brings his brilliant comic timing to the part of Jaques, whilst at the same time making the part oddly moving. This is a far more thought through and entertaining production of Shakespeare's comedy than the rather lame Globe production earlier this year, and is sure to last long in the mind.

Measure for Measure, Young Vic ***

2015 seems a popular year for Shakespeare's problem play. First, Cheek by Jowl's fierce production in Russian played at the Barbican. Next, Dromgoole's out-and-out comedy version is about to close at the Globe. At the Young Vic, I don't quite know what Joe Hill-Gibbins has done with Measure for Measure. The symbolism feels more prevalent, whether that be this production or the amount of time I have spent watching this play. Lucio's devilish qualities are enhanced by the fiery costume from Nicky Gillibrand whilst Isabella and Angelo felt very much like Adam and Eve brought before the seemingly omnipresent and omniscient, if not quite omnibenevolant Duke for judgement. I feel for the people who sourced the props, who must have felt very awkward walking into a shop in Soho and requesting about a hundred sex dolls. These represent the sin within Vienna and the way each character treats them in the opening scene tells us about that character in one of  the few good directorial decisions from Joe Hill-Gibbins. Escalus knocks them out the way; Angelo tiptoes around them whilst the Duke steps on them. It all goes downhill from there. Video is a wonderful tool if used to enhance the action on stage. However, when half of the action takes place out of sight with a camera (as it is with Chris Kondeck's video), it becomes no better than an amateur attempt at live cinema. When Pompey (played by Tom Edden as an irksome and seedy American) is wondering round with the dolls with no effect other than cheap jokes karts totally with the serious and meaningful aesthetic of Miriam Buether's design. The klaxon whenever the prison door is opened becomes infuriating whilst Marianna's obsession feels that it comes from a sane place which is challenging to comprehend. As far as the acting is concerned, whilst there are decent performances on stage, there is nothing exceptional about a single member of the cast. As the last of the Measure for Measure's, you can't help but compare them to far superior performances in the previous two versions. Romola Garai, whilst impressive, can feel slightly trapped in the character of Isabella, yet there is real emotion and a drive to her. Paul Ready's Angelo simply isn't interesting enough. He is neither as grotesque as Andrei Kuzichev nor as morally righteous as Kurt Egyiawan. Occasionally it feels like a child is at the helm of Vienna. Dubinsky Varla's Duke is a complex character but frustrated when under the camera lens. He also doesn't have a clear identity yet (it was only the fourth performance). At the Globe, whilst the decision to cast Dominic Rowan's Duke as a bumbling fool was midguided, at least it gave him axle are role in the narrative. Varla feels secondary here, with his manipulation lacking a clear motive. This is a production that wants to be bold and striking yet feels oddly lost in trying to be so different.

NT Live Encore: Coriolanus, Donmar Warehouse ****

This was the first NT Live screening I have attended and, whilst not a replacement for the live experience, it is a reasonable alternative for sold out shows or ones far away. It can occasionally feel annoying with some weird camera angles and amateur camera changes which disrupt a play's power and a feeling of intimacy, which you especially get in the Donmar, is lost on the silver screen. However, the Barbican cinema is utterly gorgeous and keeps a certain intimacy far more than my local multiplex which is only really suitable for the latest rubbish from Adam Sandler or Michael Bay. It helps that the production shown is such an energetic and powerfully bloody production of what many describe as Shakespeare's hardest play to understand. Josie Rourke's Coriolanus combines scenes of gruelling cruelty of Titus Andronicus levels (see picture above) and scenes of pure emotion to create a moving experience. Tom Hiddleston is a headstrong Caius Martius who doesn't become aware of his faults until it is too late to rectify them. However, it isn't a 'lead' performance in the same vain of Benedict Cumberbatch and Nicole Kidman. He is very much one of a collective of actors. Hadley Fraser is a revelation to me as Aufidius as he never seemed to me like a straight actor but, like Julian Ovendan, he makes the transition well and is a menacing figure who commands the stage well. Mark Gatiss is wonderful as Caius Martius' friend Menenius, possessing the charm and wit that Gatiss brings to every role he takes on. Deborah Findlay is a headstrong mother and plays Volumnia with strength and gusto, which makes the later scenes even more distressing, in particular the final shot that is theatrical genius from Josie Rourke. She and designer Lucy Osborne manage to bring Rome to fit inside the Donmar which is impressive and the clever use of Andrzej Goulding's video designs create a production that I am glad I have caught up with. For all its faults, NT Live does provide a useful service and I will be coming back to it for the occasional production in the future.

Hamlet, Barbican *****

When I was at the Young Vic to see A Number, I saw Benedict Cumberbatch and a friend walking in to see The Trial. As they gave their tickets to the young steward who clocked them and, after they had gone, proceeded to flap her hands with excitement and jump in the air. A split second later, a much older steward had joined her and together they excitedly enthused about how they had seen this living legend in the flesh. It is truly astonishing that one man can have such universal appeal so that both young and old adore him and his work. It is therefore some achievement that I was able to grab a ticket for his return to the stage, even if it cost the same as the last 5 theatre outings combined.

This production may not be too forgiving to a Shakespeare newbie, however Lyndsey Turner's production lives up to the hype and then some. Es Devlin achieved wonders with Headlong's comparatively tiny production of The Nether and has done the same with a far larger stage of the Barbican and presumably a largely inflated budget. In what could be the most lavish set in theatre history, Devlin makes full use of the breadth and depth of the Barbican stage to host this palace complete with chandelier, a deer head and oil paintings. Luke Halls, in another collaboration with Devlin, orovides excellent video along with Jane Cox's lighting to make the outdoor scenes fit the set and create a supernatural dimension to proceedings. As much as Cumberbatch leads a stellar lineup of actors, the creative team are equally impressive with some of the best CV's in the business and they are firing on all cylinders here. As far as I am aware, there is no fault to be found in this production. Cumberbatch owns his Hamlet, creating a believable character whose madness isn't overdone and, by the end, seems perfectly sane in the absurdity of the tragic events that unfold. However, it isn't his performance that lingers in the mind but that of the two leading ladies. Siân Brooke's Ophelia and Anastasia Hillie's Gertrude left me a blubbering mess. Considering how little time is given between Hamlet and Ophelia, Brooke creates this likeable character whose despair is felt throughout the auditorium which is hard to do in the vast space of this auditorium. Hellie's Gertrude is also gets more sympathy and feels more down to earth than Ciarán Hinds' aloof Claudius. Whilst I think that the attention being given to this is utterly ridiculous yet this is a truly great example of perhaps Shakespeare's greatest play.

Note: I saw this when still in preview so it may have changed by press night. However, there was no mention of this performance being a preview and there is no price difference so I think early reviews seem fair game, especially since there have been examples of early reviews being published with no backlash from the show (Quentin Letts reviewing Kristin Scott Thomas in The Audience after being barred from press night).

Richard III, Shakespeare's Globe ****

After seeing Shakespeare seen through the scope of an Italian composer, it didn't seem that far a step to see him filtered through the Chinese culture and language (in this case mandarin). This production is a pleasure to watch. Xiaoying has created a production that incorporates Chinese culture with Shakespeare's story and without the beauty of the text, you can see the pure talent on display. The murderers are played comically by Cai Jingchao and Zhang Zhiyong as a counterbalance to their acts whilst the murders are carried out with a black sheet being thrown over the victims head rather than in a goldfish bowl or being electrocuted. Wang Jianan extraordinary talent for drums help build up the tension as does the set from Luo Dajun that is showered with blood after each murder. The pure talent of Zhang Hao is astonishing to watch. His Richard rivals Mark Rylance's as a slippery a characterful portrayal that moves like a serpent waiting for it's next catch. Whilst the use of three witches at the beginning made me think that the Tang Shu-wing Theatre Studio had brought their production of Macbeth in early, it made for a fantastic afternoon of drama.

Richard II, Shakespeare's Globe ****

 

 

In between the RSC's Richard II with David Tennant, the choice to programme this play at the Globe this year seemed strange. I am seeing the RSC production in the Autumn but have heard very good things about it therefore this production would need to convince me if it was to compete with Doran's production.
It is safe to say that the RSC will need to seriously impress to top this splendid production. You first notice the amazing set design from Paul Willis, capturing the extravagance and ceremony in the court of Richard and also the religion,with a walkway shaped like a cross or cathedral to capture the fall of a king in a Christ- like fashion. Whilst no one is portrayed particularly well in the play, Richard is the most sympathetic and his fall from grace feels similar to the passion from the overt references to Pilate to being ultimately betrayed by his once loyal follower, Aumerle who is played with fire and wit by Graham Butler. Charles Edward's king is tremendous, showing flare and elegance which descends into raw emotion gradually throughout the play in a way that is painful to watch. Sturzaker is brilliantly dark yet righteous as Bolingbroke, a character that is complicated and interesting to play. The rest of the cast do the production credit and are fascinating to watch. This is another hit from Godwin and the Globe as the season gets into full flow.

Merchant of Venice, Royal Shakespeare Theatre ***

I had a choice between seeing Polly Findlay's Merchant starring Patsy Ferran or Trevor Nunn's Volpone with Henry Goodman. In the end, I chose youth over experience and chose Merchant. A few weeks later, the reviews came out for the production and it felt like I had made the wrong decision. Apart from one five star review from a reviewer whose views I disagree with on a regular basis, the bulk of the reviews were negative to say the least. The few people I spoke to in the weeks leading up to my trip weren't very complimentary of it either. Therefore, I went into the performance with lower than low expectations.

Therefore, it felt great to come out and say that it is OK. It is far from perfect. The pendulum was distracting with no real purpose; the brass set, whilst meaningful, felt like a wrong move; and the use of a Brechtian style of theatre had no real purpose and made it feel more like a student production than an RSC one. However, I can watch Patsy Ferran act all day without getting bored and the company, who are in rep, are just as fantastic in this as they were in Othello. It feels fantastic to see a production that focuses on Portia  rather than just on the anti- semitism and Shylock. The route Findlay has chosen for then relationship between Antonio and Bassanio, whilst an odd one, is justifiable and makes the final scenes bubble and come alive. Khoury is perfectly fine as Shylock,even if his story is brought back and Tim Samuels makes a decent stab at injecting some fun and dry humour into Lancelot Gobbo. The production as a whole is quite eerie and feels quite experimental so that, whilst it does have flaws, I came out not regretting my decision to see this daring and odd take on Shakespeare's troublesome play.

Othello, Royal Shakespeare Theatre ****

I have an apology to make. I have previously been critical of the RSC, saying that their productions have been too dry and dull and, up until now, I have found it to be true. However, it seems as if a new wave of directorial talent is leading to some really dynamic and exciting productions in Stratford. Othello is a prime example of a director really engaging with the text and producing a production that boils with tension, mixing vibrancy and institution superbly. Iqbal Quan's production mixes elements from both old and new, showing the deeply religious elements of Venice and the use of television screens. This idea of old coexisting with new is shown in the music, with Akintayo Akinbode using both traditional African music and modern RnB and 'rap battles'. This idea helps to reflect the two worlds within the play between both ages and classes, with Othello choosing an arithmetician rather than a soldier as his lieutenant or the age difference between Othello and his wife Desdemona. The subtlety to this is quite exquisitely done and creates satisfying moments. Water is also very important in the production, with Ciaran Bagnall designing this wonderful feature that works as a bath, a river, a hiding place, a table and a canal in an inspired design decision. Joanna Vanderham's style of acting feels eerily close to Olivia Vinall, whose Desdemona I didn't catch in the National's production, which was slightly distracting for me yet her choice to take the role and play her with more fire and sass thanis written for her felt fresh and interesting. Dharker plays Emilia with true passion and is the most sympathetic character in the production. Quarsie's Othello is very good also yet it is the anti hero that is the more impressive. Lucian Msmati makes a charismatic and likeable Iago which makes his divisive qualities seem impressive rather than detestable. At many points in the first half of this production, you find yourself rooting for Iago over Othello, which is helped by ironing out of some racial problems by having a black Iago. This RSC just feels a world away from the one I thought I knew which is a credit to Khan's inventive and memorable production.

King John, Shakespeare's Globe ****

This collaboration between the Globe and Royal & Derngate has finally brought King John to the Globe. This story of power and family feuds on a huge scale is fantastically shown in James Dacre's deeply religious production. In fact, I think this production would suit a cathedral more than at the Globe, with a more powerful effect at the Middle Temple or Salisbury cathedral. I think some intensity is lost in the vast, open space of the Globe. However, despite this, it is still one hell of a show. Dacre combines complex and wonderful music with the elegance of Shakespeare's text. This creates a first rate theatrical production.Having the muscians share the actors space too creates this collaborative feel and further shows how Dacre has given music an equally important role as the text, unlike most of the work at the Globe which stick a band in the balcony. The emotion is raw in this production. When Tanya Moodie's Constance speaks, you feel the pure hatred and desperation for power. The element of religion is brought to the forefront in this production with the choral music adding the heartbreak of excommunication. Perhaps this detracts from the main element of this play which is the grapple for power but certainly helps the audience to understand the motives behind the actions of individuals in the play. Performances are of the highest standard, with Jo Stone- Fewings giving us an icy John which conjures up images of the Disney animation and Peter Ustinov's voice. The ridiculous movements he makes and the weakness shown in the king is done in a way that makes you despise yet pity him at the same time. The ensemble cast also give admirable performances. This production is striking and is one of the best the Globe has produced.

Measure for Measure, Shakespeare's Globe ****

Dromgoole's tenure at the Globe is drawing to a close and he is bowing down from the outdoor space with his last directorial role in a comedy- laden production of Measure for Measure. Dromgoole's typical atmosphere- setting, pre show fun is similar in ways to the Merchant of Venice but not as elegant. The costume's are not as refined and the provocative scenes are slightly more provocative.Throughout the first half of the play, similar scenes take place to light up the less dramatic scenes in way that the phrase 'stinky wife' still brings a smirk to my face. The nudity warned about before entering the theatre isn't as overt and complete as Sam Cox's scene in Gabriel, with no 'frontage' being shown. It also isn't Cox's tapster Pompey that is nude rather Denis Herdman that shows a bit of cheek. It is fair to say that this is a wildly different production than Cheek by Jowl's touring version that visited the Barbican this year. It is wildly comic which means that the drama suffers slightly as a result. That being said, there was one scene between Angelo and Isabella thathad my hairs on end with the emotion on show. Mariah Gale is a satisfying, if not memorable Isabella who plays distressed very well and ticks the boxes well. Dominic Rowan goes from being a drunkard at the Vic to a Duke and monk at the Globe with a fine turn as Vincentio, who is both funny and commanding at the same time. However Kurt Egyiawan is the stand out performance of the evening. His upright and proper Angelo is conflicted, sinister and at times scary. It is exceptional to see. The ensemble cast is also entertaining and fun to spend the evening with. Whilst I would have preferred this play to be played more seriously, the Globe has done a very impressive job at bringing comedy to the forefront of the play whilst still maintaining the more serious elements of this entertaining night out.

As You Like It, Shakespeare's Globe **

The Merchant of Venice brilliantly dealt with the issue of anti semitism within the play, depicting an anti Semitic world rather than being an anti semitic play. This is not true with As You Like It when dealing with the huge problem of sexism. I felt truly uncomfortable as Blanche McIntyres production milks every sexist joke dry with the audience not seeming to realise the content of the joke. At times, this production feels really nasty which is a shame. Not that I think this is a deliberate decision from McIntyre but I feel it is careless for no one to identify this. As well as this, the staging is at best uninspired and, whilst I don't expect lavish scenery, I would quite like to see some attempt to give this production an identity which is lost by a lack of set, meaning that it will just merge into another 'Globe show'. Performances also are quite bland and run of the mill. This means that when Michelle Terry enters, she lights the stage with her clever and funny interpretation of Rosalind. The other actor who is also the exception is James Garnon who is just a joy to watch in his debonair and mocking Jaques. Performances from Daniel Crossley and Gwyneth Keyworth are also rather good but the rest of the cast are rather dull to watch. I'm sure none of them are bad actors, however, they are outshone by Terry and Garnon who redeem an otherwise less than impressive production.

The Merchant of Venice, Shakespeare's Globe ****

 The Merchant of Venice is a hard play to get right. Putting it mildly, it is problematic in issues of race and gender. It is a play full of contradictions. In one moment Shylock gives a truly moving speech about the poor treatment of Jews and the another he is being made to become a Christian as a hilarious punishment. At one point Portia is put up on a pedestal, a prize for suitors to win by picking the right box, and at another she is showing true strength and saving the friend of her husbands life. Whilst no production could nor should censor the antisemitism and sexism out of the play, the Globe's new production makes this a play about antisemitism rather that an antisemitic play due to a poignant and moving end to the show. The big selling point for this production are the Pryce father and daughter who are both excellent. However, to say that they steal the show would be wrong. Jonathan Pryce is moving and wonderful in the role but he never is the star and is instead part of a wonderful company of actors. The start depicts a world of debauchery with a display of anti Jewish sentiment that creates the atmosphere of the production which isn't totally maintained through the piece yet there are dark undercurrents that run through despite some wonderful comic turns from Christopher Logan and Stefan Adegbola. Britton's designs are, as always, brutal and harsh to accompany Jonathan Munby's subversion of Shakespeare's comedy into a tragic piece. Jules Maxwell's compositions reflect the religious aspects of the play well with bewitching singing, especially from Nuno Silva. This is a confident start to Dromgoole's last season at the Globe with a piece that is conveyed with humanity and sophistication along with the laughs along the way.

Measure for Measure, Silk Street Theatre *****

There is no better example of the beauty of theatre than in Cheek by Jowls daring and relevant production of Measure for Measure. It has become a joke within my family that I was going to a Shakespeare play performed in Russian. However, the language it's performed in should not put you off from seeing such a profound piece that enriches Shakespeare's problem play with influences from Russian Culture. The direction is prominent here with Declan Donnellan crafting each scene from a truly artistic perspective (much like Ivo Van Hove). This means that the story is told mainly through the actors more so than the subtitles. This is essential for people who want to observe the true purpose and art of theatre, as a medium that can bridge language to get to the heart of a piece of work. Transitions from scene to scene are effective, with the whole cast remaining as one body for much of the piece that move across the stage to pick up and drop off the characters needed for the following scene. The heavily cut script gives the story a driving force and keeps the audience on their toes. They deal with the sexual aspects of the play in a brutal yet tasteful way and, whilst there was a disclaimer for nudity, you don't really see anything, yet that doesn't mean that aspects of the production are not harrowing. This is a production that pushes the boundaries of what theatre can achieve. Take a look at the live stream if you can't get down to see it as this sort of theatre needs to be supported to prove that a touring production can be as effective and powerful as any other production.

Othello, Shakespeare's Globe ****

Perhaps my favourite experience of all time was watching my first Shakespeare play. It was in 2010 and I saw the magnificent display of Henry IV part 1 with Roger Allam and Jamie Parker as Falstaff and Prince Hal. I had never realised that Shakespeare could be so funny and, combined with politics and a great battle sequence, cemented my love of te Bard and theatre in general. So how great it was for me to accompany a good friend to his first play. It is a joy to see someone lose that dread of iambic pentameter and all that goes with schools teaching of Shakespeare's plays. The play itself is a heavily cut version of Othello and aimed especially at schoolchildren. This is a daunting task as, as one myself, I know how difficult it is to engage them for two hours without either the audience giving up or the actors. However, if any production can do it, it is certainly this one. It is highly charged and energetic in its telling of the tragic tale, with songs right from the beginning to a charleston dance in place of the traditional jig at the end. The actors are superb in their roles and the design from Hannah Clark wonderfully suits the Globe in transforming it to a battlefield. What was so great is that my newcomer to the world of theatre understood what was going on and has now caught the theatre bug. This is an extremely good start to what I hope to be another successful Globe season.

Henry IV Part 1, Barbican Centre ***

The Company of Henry IV part 1

 After being left disappointed by Gregory Doran's take on part 2 of the Bard's play, when I got a day ticket to the first part, my expectations were low. Luckily, the Henry IV part 1 is substantially better then part 2. As it is, in my opinion, Shakespeare's best play, it would have taken a truly terrible performance to put me off liking it. There are still the problems that were present in Stratford. I still found Sher's Falstaff to be too smug and dis-likeable for me and the production feels a bit too safe. However, the jokes still made me chuckle even if they were not as big as the Globe's laughs, and the battle is very effective. One thing I noticed as well was Englishby's score which is superb, with the main theme 'Urbs Beatta Jerusalem' sending shivers up my spine. Whilst this is far from perfection, it is quite a bit better than it's second part.

Henry IV, Donmar Warehouse ****

The cast of Henry IV at the Donmar Warehouse

The Donmar is undoubtedly the most exiting space in British theatre and all the productions I have seen there have been ambitious, with varying levels of success. Therefore, it is no surprise that Henry IV could not be just played as Henry IV. The result, admittedly not instantly lovable, is a great success. I had not seen Julius Caesar so the prison setting was totally new to me. It set the atmosphere in a way that no other play I've seen has done, with the possible exception of Dominic Dromgoole's plays at the Globe.The part of the play itself is the fact that they develop the lives of the inmate's characters as well as the character's they play. It is set up as a play within a play, with these female convicts putting on a production of Henry IV. The cuts are extensive, with a 6 hours of material cut  into a 2 hour show without an interval. Therefore, most of part 2 is cut in order to cut back to the main story line of choosing between two father figures. It also diverts away from the play,with a last scene which made me cry. Ashley Mcguire's Falstaff, whilst not particularly funny, is a character for whom more pathos can be felt. Erivo as Poins and Douglas is also a notable performance from a truly great actress. The other actors are also fantastic.The Donmar also seem to have prioritized experience over fame, with theatre- virgin Sharon Mooney being given one of the less substantial roles despite being one of the most recognizable faces in the cast. It also good to have normal women playing the roles instead of the 'perfect', idealised woman which is so often the case. For me, this love letter to feminism has met my expectations of what a good Shakespeare play is like, and far exceeded them.

Comedy of Errors, Theatre by the Lake ***

The set of the Comedy of Errors

When looking at this production of farce and jollity, it is hard not to compare Keswick's production with the one at the globe earlier this year. As you would expect, this production does fall short of the Globe production. The farcical nature of the play is somewhat diminished in Keswick, where comedy is sought in all the wrong places and moments that should be getting belly laughs only result in scattered chuckles throughout the auditorium. There are also some performances that belong in am-dram rather than on, arguably, the finest stage outside the capital. However, despite these errors, the set design is joyous and some performances, especially Lucciana by Jennifer English, that far exceed those at the Globe. One Dromio being on crutches also broke the fourth wall effectively, even if only accidentally. Therefore, whilst several key issues let the piece down, it is still a strong romp which entertains it's audience.

Comedy of Errors, Shakespeare's Globe ****

Matt Doherty, Matthew Needham (Antipholus of Ephesus), Andy Apollo (Gaoler/Officer), Harry Katsari in 
The Comedy of Errors 

I have always known through word of mouth that Shakespeare's Comedy of Errors was more error than comedy so I was anxious going into Blanche McIntyre's production. I was wrong to be anxious. The atmosphere at the globe was electric perhaps only equalled by Henry IV in 2010 as the actors fell about the stage in a comedic fashion. The farce , in a see how they run fashion, starts with a Dromio trying to get a pair of pants hanging from the roof. This sets the tone for the play. It is a rip roaring, rollicking production with almost everyone, bar Lucianna, giving an above good performance. I would like to see how te good people of Keswick can offer when I go and see this play up there in October.