What Graham does beautifully is craft a play to appease a liberal theatre-going Britain whilst being quite alarmingly a-political.
Focusing on Webster’s fiercely defiant, witty, beautiful and magnetic Duchess, Maria Aberg’s new production is fresh, feminist, and female.Read more "RSC 2018 The Duchess of Malfi – Review"
In Shakespeare’s England, Twelfth Night was the time of greatest celebration.
The play mirrors this. Drunkenness, merriment, riot; but then the bitter silence that comes after the party.
Saturated, practically oozing, the RSC have indulged themselves in more coagulate gore, spurting blood vessels and dripping blood-soaked cloths than you can shake a stick at, but it is still blisteringly current.Read more "RSC 2017 Titus Andronicus – Review"
Sexual ambiguity, gender fluidity, pop music, glitter, blood, and Oscar Wilde. Yes please.Read more "RSC 2017 Salomé – Review"
Romeo and Juliet is not just a gaudy, bawdy song-and-dance – but a lovesong for people who couldn’t live without each other.Read more "Globe Theatre 2017 Romeo And Juliet – Review"
The claim, “We’ll know better next time.” is the real tragedy – more so than Hamlet. Because they won’t. They never will. Shakespeare has doomed them.Read more "Old Vic 2017 Rosencrantz and Guildenstern are Dead – Review"