My goodness, that Ella Hickson doesn’t let the grass grow under her feet for long.
Having circled the globe in time and space with Oil (2016) and the history of fossil fuel, taken on creativity with The Writer (2018), here she is again in winning form playfully, even mischievously with serious intent, re-examining the legacy of that role model to end all female role models, Elizabeth I. Continue reading →
Review by Carole Woddis of performance seen Dec 28, 2018:
I love Christopher Marlowe. I love the raciness and rebel in him. And sometimes, particularly in Paulette Randall’s reframed version here at Shakespeare’s Globe with Doctor Faustus, the omnivorous, greedy scholar as a woman selling her soul to the Devil for more knowledge and more of everything material, you could feel the young Marlowe within riding those waves as if putting two fingers up to the Establishment of his times. Continue reading →
What with the BBC’s Gunpowder Plot and now Anders Lustgarten’s spymaster drama, we really seem unable to quite slough off our fascination with those grisly times when terrorism came in Catholic terms and we were once again at daggers drawn with our European neighbours. Continue reading →
Well here’s a rum to-do. An imaginary meeting between the Roman Emperor Tiberius Caesar and Jesus of Nazareth is American academic and playwright, John Wolfson’s opportunity for a ripe crusade on power and its corruptions. Continue reading →
John Ford (1586-c1640) doesn’t make it easy. A play, set in Sparta (in Elizabethan costume) about jealousy, love and revenge, his language and construction not to mention names of characters – Orgilus, Amyclas, Nearchus, Prophilus, Ithocles etc – stretch comprehension not to say pronunciation to an actor’s and audience’s limit. Continue reading →