All entries for Thursday 17 September 2009

September 17, 2009

Autumn shows

It's been a quiet summer, but as October approaches there are a range of Shakespeare shows coming up which I'm hoping to attend. Here's the current wishlist:

  • The NT Live broadcast of the National's All's Well that Ends Well, which I'll be seeing at Warwick Arts Centre.
  • Also at Warwick, Krazy Kat Theatre's children's show A Tempest. I've got a fondness for adaptations for kids, so looking forward to this one.
  • Coming to Coventry's Belgrade, the RSC's Days of Significance, which I haven't seen since its 2007 debut in the Swan.
  • The RSC's far more high-profile production of Twelfth Night at the Courtyard.
  • As promoted by Sonia Massai at this year's BSA conference, Two Gents Productions tour their Zimbabwean Two Gentlemen of Verona, which I'll probably catch in Oxford.
  • At the Barbican, the intimidating-sounding Roman Tragedies- Coriolanus, Julius Caesar and Antony and Cleopatra rolled into one, six hour production. In Dutch.
  • The Donmar's Life is a Dream, a play I've studied but never seen. Looks like availability may scupper me here though.
  • Then, thinking ahead to next year, there's A Midsummer Night's Dream at the Rose Theatre Kingston, and Measure for Measure at the Almeida, both opening in February. There's also a couple of bits of RSC new writing based on Shakespeare plays which I'd potentially like to see.

I'm probably not going to catch the Globe's revival of Love's Labour's Lost. It's a short run, and as it's the same space, the same director and a substantial number of the same cast as the original production, I don't think I can justify the time and expense (and they cancelled press night, so I lost my free ticket). I may also check out the local am-dram in my new locale of Kenilworth, who are putting on a version of Much Ado round the corner from me.

In a non-Shakespeare (and therefore non-review) line, I'm looking forward to the National's Mother Courage, the Belgrade's Beggar's Opera and the West End transfer of Cat on a Hot Tin Roof.

Anything screamingly obvious I've missed? Or any hot tips?

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Peter Kirwan is Teaching Associate in Shakespeare and Early Modern Drama at the University of Nottingham and a reviewer of Shakespearean theatre for several academic journals.

The Bardathon is his experimental review blog, covering productions of (or based on) all early modern plays. The aim is to combine immediate reactions with the detail and analysis of the academic review.

Theatre criticism always needs more voices. Please comment with your own views and contributions!

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