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Dedication

Dedication – Shakespeare & Southampton

Written by Nick Dear
Directed by Samuel Hodges
Designed by Alex Lowde

Nuffield Theatre, Southampton
Wednesday 14th September 2016

dedication-flier

CAST

Tom McKay as William Shakespeare
Tom Rhys Harries as Henry Wriothesley, Earl of Southampton
with
Simon Kuntz as Lord Chief Justice (not seen)
Peter Bridgewood – choir leader
Grace Curtis, Lucy Grant, Jonathan North – choir

On the Nuffield website, the director comes above the writer, which is not the normal way to do it, still it’s fine on the posters … and that extends to a billboard on the road coming in from the M27. They’re making a lot of publicity effort. Their normal meagre audience had changed to quite full tonight as a result. I always wish the Nuffield well, as we so enjoyed the theatre throughout the 70s and 80s, when I remember it as packed to the doors.

There is a question about reviewing previews. Should you? The programme is the full script for £3.50 even though £9.99 is printed on the back. I am always delighted by the fashion for issuing the full script as the programme, but it also implies that the text is fixed absolutely before the first performance. With actual Shakespeare, it is not rare to cut lines after previews. With modern writers and the text set in stone, or rather Times New Roman, there seems no room for manoeuvre. With our ELT videos we would never have dreamt of finalising and printing text before filming. Actors generally come up with little tweaks in lines or interpretation, often accidentally because the words fall more naturally, and I incorporated the good ones. Here though they felt sure enough to print in advance, so we are looking at a final text.

wriothesley_southampton

Portrait of The Third Earl of Southampton

The play is about Shakespeare and the 3rd Earl of Southampton (1573-1603), rather than the port city on the South coast, which is where it is being performed. You have to remember that the Duke of Norfolk lives in Sussex, the Duke of Devon lives in Derbyshire and the Earl of Pembroke lives in Wiltshire. Actually, this takes place in London and the Earl’s home in Titchfield, between Southampton and Portsmouth, so unusually close to the city of his title for an English nobleman.

Venus and Adonis and The Rape of Lucrece were written while the theatres were closed by plague in 1595, and dedicated by Shakespeare to Henry Wriothesley, The 3rd Earl of Southampton. The dedication to The Rape of Lucrece runs:

‘The love I dedicate to your lordship is without end … What I have done is yours; what I have to do is yours; being part in all I have, devoted yours’.

Southampton has been suggested as the “fair youth” of the Sonnets. They’re dedicated to “Mr W.H.” which could be HW backwards. Or it could be the Earl of Pembroke, whose initials were WH, and it is known that Shakespeare acted at Wilton House, Pembroke’s home just outside Salisbury. Pembroke was dismissed in one article supporting the “WH is HW, or Southampton’s name backwards” theory because you don’t address an earl as “Mr” but hang on, they were both earls.

The introduction to the programme / text quotes director Samuel Hodges, who notes the ‘gloriously salacious’ speculative theories about the “fair youth” of he sonnets and the dedications:

When I asked Nick (Dear) which version he wanted to write about, his reply was “all of them.”

I so wish I’d read that before I went in, but you don’t devour a play text in the same way as a conventional programme, and I missed it. See below.

dedication-2

The revolving stage, as lit

For a one month run, they have converted the Nuffield into the round, an enormous task, with all different seating.  The acting area is dramatically lit, and looks superb. How far is that worthwhile for a one month run in a reduced size theatre? When the Old Vic did it, it lasted a season, and I guess once they’d done it, it was easy to re-do (as it will be here). I have doubts. The Nuffield used to use a thrust area over the front few rows in the 70s and 80s, and it’s easier to act to three sides than four. The new central stage for this is shiny black with mirrored pillars with strips of light running up them, over the stage and back down. There are two contra-rotating areas, one within the other, and a rectangle in the centre that can be flush, raised a foot or so, and raised much higher (but just the once).

This was a preview, the last but one, so several shows in. They have some technical issues. One is glaring, and so much so that it undermines the whole thrust of the play. The concept is that we see scenes repeated in three different versions of the story. So, in one, Southampton goes looking to employ Shakespeare. In the next, Shakespeare is working while “resting” when the theatres are closed by the plague as a schoolmaster in Tichfield. In the third, Shakespeare has sent an unsolicited manuscript to Southampton. It brings up all sorts of questions. Who is the predator? Who is the prey? Is Shakespeare an opportunist? Is he a trickster? Is he truly smitten with desire? That we could grasp, but then it just got confused, though we grasped that we were seeing different views of incidents. After about 50 or 55 minutes, I glanced up (we were in the front row, so the lowest row) and there was VERSION C on the small TV monitor high up next to the ceiling. I nudged my companion and pointed upwards. She hadn’t seen it before either. Later we saw a VERSION B.

First fault. It’s vital. The monitors are way too high, and too small. I noticed that the man with a clipboard (presumably the director) was sitting in the top row opposite us. From the top row, you might notice the monitor. Lower down you won’t. Worse, they flash up VERSION B then revert to blank. Blink and you’ve missed it. It needs to stay on, be on a larger monitor and lowered. It’s so vital to the concept, and of course on a three sided stage it could be large and at the rear.  After the show, I look at the program, and see that scenes are labeled Scene 7:A, Scene 7: B. I think that the placing of the monitors was disastrous for the alternate versions in the text. At various times the strip lighting was blue, green or orange or white. We noticed the monitors too late to trace a pattern, but maybe the colour indicated the versions. If so, total failure. Of course, if you are going and have read this first, you’ll know what to look out for.

At first sight, the lighting is state of the art brilliant … BUT … The lighting plot was inept in the Star Chamber scenes at the start and end, when Shakespeare is being interrogated by an unseen Lord Justice … a recording, I’d assume. At the corners, people were being blinded by spotlights straight in the face. They had to move, stand up and retreat. It’s an intrinsic issue with a stage in the round. You can’t light across the actor without hitting the audience. You have to light above, below, and angled so that the lights never spill off the acting area. The lighting director has an illustrious biodata too. I can’t understand how such a fundamental error can have been made, then continued for several minutes.

From where we were sitting, in a central position, the mirrored pillar obscured 90% of Shakespeare in the opening scene. That will have been repeated on all four sides, as each has a pillar. Later the pillars were constantly moving, so not a problem, but five minutes in, completely unable to see the actor, with people trying to escape the blinding lights in the corner, I contemplated walking out, and might have done if our only exit had not been blocked by the four piece choir dressed as monks.

The “in the round” has seating and access issues . We were in the “on stage” block, and had to enter through the stage entrance and along behind the seats. It was awkward … I saw an employee exit from the area by just squeezing through / half jumping over the narrow gap between the stage row and stage right row at 90 degrees to it. Remove one seat to widen that gap, and you could have taken everyone in through the main entrance.

Front of house was disorganized too. We had seats A4 and A5 and followed the sign to the right (the “gents” side) to seats 1 to whatever. That was closed off. Everyone else had made the same mistake, so we all turned round and trailed back round to “the ladies” side to find two entrances … the normal one, and the one going backstage which was ours.

At the end, we were first up and walked through to find our way along the backstage area through two closed doors and there were no ushers. I’m confident of my memory and found my way out, and two people near said “we’d never have found that exit.” My companion went into the loo, and as I was waiting someone scurried along to that exit to open the doors, I presume. It was a good two minutes after the play had ended … and as well as getting very good applause, we all clapped for quite a long time hoping for a well-deserved second curtain call for the actors, so staff should have realized it had ended.

So there are technical faults … another was that when the central platform reached its full height, it descended with one loud jarring bang … not nice for the actors standing on it.

dedication-1

The sword fight: Southampton in white. A “blue” scene

During the sword fight, we thought it very well done but a tad ambitious for a shiny black stage with four intrusive mirrored pillars. I guess we were right, because Tom Rhys Harries nicked his hand and got blood on his costume.

The play itself suffers inadvertently from the Mrs Beethoven issue … Monty Python did a sketch with Mrs Beethoven and Mrs Mozart. I don’t recall the lines, but let’s imagine it was something like I need an aspirin. My head’s pounding. Ludwig’s working on a new symphony. / Ooh, hasn’t he done four already. / Yes. Awful. I can’t hear myself hoover. / What’s he going to call this one? / I don’t know. Just the 5th I suppose. That may not have been it (we used to do a sketch along the same idea in our sketch shows and changed it a lot) but it’s the archness of the knowing reference … My house in Henley Street … that play about the Jew in Venice … Oh, right. You mean The Merchant of Venice. What happens to the others? Your young men? / They vow to shut themselves away for three years, hunt and read and shun the company of women … Oh, right. You mean Love’s Labours Lost.

I noticed one man near us who got every reference with a knowing chuckle of delight. My knowledge always stopped short before the poems and the sonnets, so I probably missed a few.

The main fault is that the alternative histories plot, a great basis for a biographical story where no one has ever worked out the “truth”, gets muddled by lack of signposting. That can be remedied, though the “in the round” makes it a puzzle how to do it. In the extremity you could have a monk with a board rotate once. That would slow the fluidity badly though. Given the dramatic high tech look, projection would be an answer, though onto what I don’t know. Or they could flash the lights dramatically and have that Chief Justice voice intone VERSION A over the speakers.

dedication-3

The play is redeemed by the high quality of the performances from Tom McKay as Shakespeare and Tom Rhys Harries as Southampton. It’s a two man show.  They’re never less than riveting, dance well, good sword fight too. The physicality of the first dance was highly praised by my companion, who thought it superbly choreographed and executed and reminded her of Versailles and of course that has the male to male sexual aspect too.

Hopefully the issues will be resolved. It’s great to see a local producing theatre (with a fine history) back to commissioning original works with a strong sense of set design and lighting and first-rate actors.

I won’t add a rating in deference to the probability of tweaks. But I will add that the very low seat backs (only about a foot high)  have left me with a very sore lower back this morning.

OTHER REVIEWS ON THIS BLOG:

TOM McKAY
Julius Caesar – Globe 2014 (Brutus)

TOM RHYS HARRIES
Mojo by Jez Butterworth, Harold Pinter Theatre, 2014

 

 

 

 

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      • Thank You For The Muzac
      • The Band reviews & pictures
      • The Beautiful Old
      • The Village Green Preservation Society
      • The Weight – covers
      • Twelve Songs For Christmas 2013
    • rants
      • 100 Days Plus and Counting …
      • Driving Me Mad …
      • A Fishy Story
      • A Legal Matter
      • A Post-Brexit Vision
      • Agatha Christie: Deduction in a dell’arte mask
      • Allergies … and lawyers
      • Baby Boomer v Wokeperson
      • Barcodes
      • Beaujolais Nouveau …
      • Best of 2011
      • Best of 2012
      • Best of 2013
      • Best of 2014
      • Best of 2015 – music
      • Best of 2015 – Theatre
      • Best of 2016 – Music
      • Best of 2016 – Theatre
      • Best of 2017 – Music
      • Best of 2017 – Screen
      • Best of 2017- Theatre
      • Best of 2018 – Music
      • Best of 2018 – theatre
      • Best of 2019 – Concerts
      • Best of 2019 – Theatre
      • Best of 2019- Music
      • Best of 2020
      • Best of 2020- Music
      • Best of 2022 – Music
      • Best of 2022- Theatre
      • Cars are cars
      • Chorizo is Vile
      • Christmas Markets
      • Christmases long past …
      • Civil Wars & Statues
      • Climate Change: my rant
      • Communication skills: Leaders TV debate 2015
        • Opposition Leader’s Debate, 16 April 2015
      • Crisis at the Cash Register
      • Culture Shock Bourbon Street
      • Cycling in London (and elsewhere)
      • Encounter: Saul Bellow
      • Eurovision 2022
      • Fawlty Towers and Tall Poppies
      • Flags and anthems
      • Football nicknames
      • Free Broadband in Every Packet!
      • Guilt and innocence
      • Hail, hail, the first of May
      • Howards End is a blur
      • In the April Garden …
      • In The Days of Covid-21
      • In the May Garden
      • Jangle Bells: shopping for Christmas
      • Jumble Sales
      • Land Of My Mother’s
      • London-centric theatre
      • Mail v Guardian
      • Major Brylcreem or My adventures in the CCF
      • Matinees
      • Not an amazing grace
      • On The Road: Information overkill
      • Parent and child spaces
      • Poppies
      • Princely Names
      • Quaint hotels
      • Remember, remember …
      • Secondhand Christmas
      • Shrink wrapping albums
      • Sloppy fiction?
      • Someone will call you back …
      • Sound … and Fury… at The Globe
      • SS-GB – Mumbling soundtracks
      • Supermarket check-outs
      • Surveys
      • Testing in schools
      • The “Poldark” Effect
      • The 2019 watershed?
      • The 70s were crap
      • The Building Behind Me …
      • The Cheerful e-bay seller
      • The Curse of The Crawleys: Downton Abbey Series 10
      • The Decline of Bournemouth
      • The End of Deference …
      • The Famous Five – by Paul F. Newman
      • The four day week?
      • The Great War
      • The Hacking Cough
      • The Long & The Short Of It
      • The March of The Halloumi Fries
      • The Shakespeare Cod-Piece
      • The Stitch Up
      • View From The Queue
      • What happened to car CD players?
      • What’s happened to air travel?
    • stage
      • ‘Tis Pity She’s A Whore – Cheek by Jowl
      • ‘Tis Pity She’s A Whore – Wanamaker
      • 8 Hotels
      • A Damsel in Distress
      • A Little Hotel On The Side
      • A Mad World My Masters
      • A Midsummer Night’s Dream – BBC TV 2016
      • A Midsummer Night’s Dream – Bridge 2019
      • A Midsummer Night’s Dream – Filter 2011
      • A Midsummer Night’s Dream – Globe 2013
      • A Midsummer Night’s Dream – Globe 2016
      • A Midsummer Night’s Dream – Grandage 2013
      • A Midsummer Night’s Dream – Propellor 2013
      • A Midsummer Night’s Dream – RSC 2011
      • A Midsummer Night’s Dream – RSC 2016
      • A Midsummer Night’s Dream – Selladoor 2013
      • A Midsummer Night’s Dream – Watermill 2018
      • A Midsummer Night’s Dream – Watermill Tour 2019
      • A Midsummer Night’s Dream – Young Vic
      • A Midsummer Night’s Dream, Bath 2016
      • A Midsummer Night’s Dream, Globe 2019
      • A Midsummer Night’s Dream- Bristol Old Vic Theatre School
      • A Midsummer Night’s Dream- Headlong
      • A Midsummer Night’s Dream- Sh!t-Faced Shakespeare
      • A Midsummer Nights Dream – Handspring 2013
      • A Midsummer Night’s Dream RSC 2016 Revisited
      • A Number
      • A Streetcar Named Desire NT Live
      • A Taste of Honey
      • A Very Very Very Dark Matter
      • A View From The Bridge
      • A Woman of No Importance
      • Abigail’s Party 2013
      • Absolute Hell
      • Ah, Wilderness!
      • Albion
      • All My Sons
      • All New People
      • All’s Well That Ends Well – RSC 2013
      • All’s Well That Ends Well- 2018
      • All’s Well That Ends Well- RSC 2022
      • Amadeus – 2014
      • Amadeus – NT 2017
      • American Buffalo
      • An Enemy of The People
      • An Ideal Husband 2018
      • An Ideal Husband- 2014
      • Antony & Cleopatra – RSC 2013
      • Antony & Cleopatra – RSC 2017
      • Antony and Cleopatra – Globe
      • Antony and Cleopatra 2012
      • Arcadia
      • Arden of Faversham
      • Around The World in 80 Days
      • As You Like It – Globe 2015
      • As You Like It – Globe 2018
      • As You Like It – National 2015
      • As You Like It – RSC 2019
      • As You Like It RSC 2013
      • Awful Auntie
      • Bakkhai
      • Balletboyz: The Talent
      • Barber Shop Chronicles
      • Bartholomew Fair
      • Beauty & The Beast (Ballet Theatre UK)
      • Before The Party
      • Birthday
      • Bitter Wheat
      • Black Comedy
      • Blithe Spirit
      • Blithe Spirit – Bath 2019
      • Blood Wedding
      • Blues For An Alabama Sky
      • Boudica
      • Bring Up The Bodies
      • Broken
      • Candida
      • Cardenio
      • Carmen Disruption
      • Caroline or Change
      • Comedy of Errors – Globe
      • Comedy of Errors – RSC, 2021
      • Comedy of Errors NT 2012
      • Comedy of Errors RSC ’12
      • Communicating Doors
      • Comus
      • Copenhagen
      • Coriolanus – NT Live
      • Coriolanus – RSC
      • Crazy For You
      • Curiosity Shop
      • Cymbeline – RSC
      • Cymbeline – Wanamaker
      • Dancing At Lughnasa
      • Death Of A Salesman
      • Deathtrap
      • Dedication
      • Dido, Queen of Carthage
      • Dinner With Saddam
      • Doctor Faustus
      • Don Carlos
      • Don Juan in Soho
      • Don Quixote
      • Doubt – a parable
      • Dream
      • Dunsinane
      • Echo’s End
      • Educating Rita
      • Edward II
      • Electro Kif
      • Endgame / Rough for Theatre II
      • Eyam
      • Fallen Angels
      • Fantastic Mr Fox
      • Far
      • Farinelli and The King
      • Fences
      • First Light
      • Flare Path
      • Follies
      • For Services Rendered
      • Forests
      • Fortune’s Fool
      • Forty Years On
      • Fracked! Or Please Don’t Use The F-Word.
      • Frankenstein – NT Encore
      • French Without Tears
      • Funny Girl
      • Future Conditional
      • George’s Marvellous Medicine
      • Girl From The North Country
      • God of Carnage
      • Gypsy
      • Hairspray, The Musical
      • Half A Sixpence
      • Hamilton
      • Hamlet – Cumberbatch
      • Hamlet – Globe 2014
      • Hamlet – Maxine Peake
      • Hamlet – NT 2010
      • Hamlet – RSC 2016
      • Hamlet RSC 2013
      • Hamlet- Almeida / BBC 2017
      • Hamlet- Young Vic 2011
      • Hangmen
      • Harlequinade / All On Her Own
      • Harlequinade / All On Her Own – review
      • Hay Fever
      • Hecuba
      • Hedda Gabler
      • Hedda Tesman
      • Henry IV Parts 1 & 2 RSC
      • Henry V – 2018
      • Henry V – Jude Law
      • Henry V – RSC 2015
      • Henry VI – Rebellion
      • Henry VI – Wars of The Roses
      • Henry VI: Three plays
      • Hobson’s Choice
      • Hogarth’s Progress
      • Home
      • Home, I’m Darling
      • Hysteria
      • Imogen (Cymbeline) – Globe 2016
      • Importance of Being Earnest 2010
      • Importance of Being Earnest – Suchet, 2015
      • Importance of Being Earnest – Watermill
      • Importance of Being Earnest 2014
      • Importance of Being Earnest- 2018
      • Inala
      • Institute
      • Into The Hoods – Remixed
      • Ivanov
      • Jack Absolute Flies Again
      • Jeeves and Wooster
      • Jerusalem
      • Jerusalem – 2018
      • Jitney
      • John Gabriel Borkman
      • Julius Caesar – Globe 2014
      • Julius Caesar – RSC 2012
      • Julius Caesar – RSC 2017
      • Ka
      • King Charles III
      • King John – Globe 2015
      • King John – Rose, 2016
      • King John – RSC 2019
      • King Lear Frank Langella
      • King Lear – Antony Sher, RSC 2016
      • King Lear – Barrie Rutter
      • King Lear – David Haig
      • King Lear – Globe 2017
      • King Lear – McKellen 2017
      • King Lear – Russell-Beale
      • Kiss Me Kate
      • Kunene and The King
      • La Bête
      • Lady Windermere’s Fan
      • Leopoldstadt
      • Life of Galileo
      • Little Shop of Horrors
      • Local Hero
      • Long Day’s Journey Into Night
      • Love
      • Love For Love
      • Love’s Labour’s Lost
      • Love’s Labour’s Lost – 2018
      • Love’s Labour’s Lost- 2016
      • Love’s Labour’s Won
      • Love’s Sacrifice
      • Love, Love, Love
      • Macbeth – Globe 2016
      • Macbeth – McAvoy 2013
      • Macbeth – National Theatre 2018
      • Macbeth – Tara Arts
      • Macbeth – Young Vic
      • Macbeth RSC 2018
      • Macbeth, RSC 2011
      • Macbeth, Watermill 2019
      • Macbeth- Chichester 2019
      • Macbeth- Wanamaker 2018
      • Mack & Mabel
      • Malory Towers
      • Man and Superman
      • Mary Poppins
      • Me and My Girl
      • Measure for Measure – Globe 2015
      • Measure for Measure – Young Vic
      • Measure for Measure RSC 2012
      • Measure For Measure- RSC 2019
      • Medea NT live
      • Miss Julie / Black Comedy
      • Miss Littlewood
      • Mojo
      • Monsieur Popular
      • Mrs Warren’s Profession
      • Much Ado About Nothing – Globe 2014
      • Much Ado About Nothing – Globe 2017
      • Much Ado About Nothing – NT 2022
      • Much Ado About Nothing – Old Vic 2013
      • Much Ado About Nothing – Rose 2018
      • Much Ado About Nothing – RSC 2014
      • Much Ado About Nothing- Northern Broadsides
      • Much Ado About Nothing- RSC 2016
      • Much Ado About Nothing- RSC 2022
      • Much Ado About Nothing- Wyndhams 2011
      • Murder On The Orient Express (stage)
      • Murder, Margaret and Me
      • My Brilliant Friend (play)
      • My Night With Reg
      • Neighbourhood Watch
      • Nell Gwynn
      • Nice Fish
      • No Man’s Land
      • Noises Off
      • Obsession
      • Oklahoma! – Chichester
      • Once
      • One Man, Two Guvnors
      • Othello – Globe 2018
      • Othello – RSC 2015
      • Othello NT 2013
      • Othello- ETT 2018
      • Othello- Wanamaker 2017
      • Othello- Watermill 2022
      • Our Ladies of Perpetual Succour
      • Our Man in Havana (musical)
      • People
      • People Like Us
      • Pericles
      • Peter & The Starcatcher
      • Peter and Alice
      • Peter Gynt
      • Peter Pan (pantomime)
      • Peter Pan Goes Wrong
      • Photograph 51
      • Pitcairn
      • Plastic
      • Platonov
      • Playing Cards 1: Spades
      • Plenty
      • POSH
      • Present Laughter – Chichester 2018
      • Present Laughter – Old Vic 2019
      • Present Laughter- Bath 2003
      • Present Laughter- Bath 2016
      • Pressure
      • Private Lives
      • Privates On Parade
      • Punishment Without Revenge
      • Punk Rock
      • Pygmalion
      • Quatermaine’s Terms
      • Queen Anne
      • Quiz – James Graham
      • Racing Demon
      • Ralegh: The Treason Trial
      • Relative Values
      • Richard II – Globe
      • Richard II – RSC
      • Richard III – Almeida
      • Richard III – Apollo 2012
      • Richard III – Freeman
      • Richard III – RSC 2012
      • Richard III – RSC 2022
      • Richard III – Spacey, 2011
      • Robin Hood (panto)
      • Romantics Anonymous
      • Romeo & Juliet – Globe 2017
      • Romeo & Juliet – RSC 2018
      • Romeo & Juliet 2014 – Box Clever
      • Romeo & Juliet, Headlong 2012
      • Romeo & Juliet- Branagh 2016
      • Romeo and Juliet – NT, 2021
      • Romeo and Juliet- Globe 2015
      • Romeo and Juliet: Tobacco Factory
      • Rosencrantz and Guildenstern Are Dead
      • Ross
      • Rules for Living
      • Salomé – RSC
      • Same Time, Next Year
      • School nativities
      • Secondary Cause of Death
      • Separate Tables
      • Shakespeare in Love
      • She Stoops To Conquer – Bath 2015
      • She Stoops to Conquer – Rain or Shine
      • Sing Yer Heart Out For The Lads
      • Skylight
      • Slava’s Snowshow
      • Snow in Midsummer
      • South Pacific
      • Spring Awakening
      • Stepping Out
      • Strife
      • Swan Lake
      • Sweet Bird of Youth
      • Switzerland
      • Tamburlaine
      • Tangomotion
      • Tartuffe- RSC
      • The Alchemist – RSC
      • The Argument
      • The Beauty Queen of Leenane
      • The Beauty Queen of Leenane – 2021
      • The Beaux Stratagem
      • The Birthday Party
      • The Book of Mormon
      • The Broken Heart
      • The Canterbury Tales
      • The Captive Queen
      • The Caretaker
      • The Chalk Garden
      • The Changeling
      • The City Madam
      • The Constant Wife
      • The Country
      • The Country Girls
      • The Country Wife
      • The Cripple of Inishmaan
      • The Crucible, NT 2022
      • The Crucible, Old Vic 2014
      • The Deep Blue Sea – 2019
      • The Deep Blue Sea-NT live, 2016
      • The Doctor
      • The Dresser
      • The Duchess of Malfi – 2012
      • The Duchess of Malfi – 2014
      • The Duchess of Malfi – RSC 2108
      • The Entertainer
      • The Famous Five: A New Musical
      • The Fantastic Follies of Mrs Rich
      • The Ferryman (Acts 2 & 3)
      • The Flying Lovers of Vitebsk
      • The Four Seasons: A Reimagining
      • The Game of Love and Chance
      • The Ghost Train
      • The Height of The Storm
      • The Homecoming
      • The Hot House
      • The Hypochondriac
      • The Hypocrite
      • The Jew of Malta
      • The Knight of The Burning Pestle
      • The Ladykillers
      • The Lie
      • The Lieutenant of Inishmore- 2018
      • The Lieutenant of Inishmore-2001
      • The Lock In
      • The Lock In Christmas Carol
      • The Magistrate – NT Live
      • The Magna Carta Plays
      • The Man In The White Suit
      • The Merchant of Venice – Almeida
      • The Merchant of Venice – Globe
      • The Merchant of Venice – RSC
      • The Merry Wives – Northern Broadsides
      • The Merry Wives of Windsor – Globe 2019
      • The Merry Wives of Windsor – RSC 2012
      • The Merry Wives of Windsor- RSC 2018
      • The Misanthrope ETT
      • The Miser
      • The Narcissist
      • The Nightingales
      • The Norman Conquests
        • Living Together
        • Round & Round The Garden
        • Table Manners
      • The Odyssey
      • The Painkiller (2016)
      • The Play That Goes Wrong
      • The Play What I Wrote
      • The Price
      • The Provoked Wife
      • The Recruiting Officer
      • The Rehearsal
      • The Resistible Rise of Arturo Ui
      • The Rivals
      • The Roaring Girl
      • The Rover
      • The Ruling Class
      • The School for Scandal
      • The Seagull
      • The Seagull- Chichester
      • The Seven Year Itch
      • The Shoemaker’s Holiday
      • The Silver Tassie
      • The Southbury Child
      • The Spire
      • The Storm
      • The Syndicate
      • The Taming of The Shrew – RSC 2012
      • The Taming of The Shrew – RSC 2019
      • The Taming of The Shrew- Globe 2016
      • The Taxidermist’s Daughter
      • The Tempest – Bath Ustinov
      • The Tempest RSC 2012
      • The Tempest RSC 2016
      • The Tempest- Wanamaker
      • The Truth
      • The Two Noble Kinsmen- 2018
      • The Two Noble Kinsmen- RSC
      • The Unfriend
      • The Upstart Crow
      • The Wars of The Roses
        • Edward IV
        • Henry VI
        • Richard III
      • The Watsons
      • The Way of The World
      • The Weir
      • The Whale
      • The White Devil – Globe
      • The White Devil – RSC
      • The Winter’s Tale – Branagh
      • The Winter’s Tale – Cheek by Jowl
      • The Winter’s Tale – Globe 2018
      • The Winter’s Tale – RSC 2013
      • The Winter’s Tale – RSC 2021
      • The Winter’s Tale- Wanamaker
      • The Witch of Edmonton
      • There and Back Again – An Odyssey
      • Thérèse Raquin
      • This Happy Breed
      • This Is My Family
      • Timon of Athens
      • Timon of Athens – RSC
      • Titus Andronicus – RSC 2017
      • Titus Andronicus- Globe 2014
      • Totem
      • Travels With My Aunt (musical)
      • Travesties
      • Tristan and Yseult 2017
      • Troilus & Cressida RSC 2018
      • True West
      • Twelfth Night – Apollo 2012
      • Twelfth Night – Globe 2017
      • Twelfth Night – Globe, 2021
      • Twelfth Night – NT 2017
      • Twelfth Night – RSC 2017
      • Twelfth Night – Watermill
      • Twelfth Night – Young Vic
      • Twelfth Night RSC 2012
      • Twelfth Night- ETT 2014
      • Two Gentlemen of Verona – 2016
      • Two Gentlemen of Verona – RSC
      • Two Gentlemen of Verona- 2013
      • Uncle Vanya (Hare)
      • Uncle Vanya (McPherson)
      • Venice Preserved
      • Vice Versa
      • Volpone
      • Vulcan 7
      • Watership Down
      • Way Upstream
      • What The Butler Saw
      • While The Sun Shines
      • Wolf Hall
      • Woman in Mind
      • Women On The Verge of A Nervous Breakdown
      • wonder.land
      • Worst Wedding Ever
      • Woyzeck
      • Yerma (2017)
      • Young Chekhov Season
      • Young Marx
    • video
      • A Weekend Away, A Week By The Sea
        • Sections: Weekend Away / By the Sea
      • Dennis Cook: A history
      • Drama, dialogue and video
      • Teaching with video: techniques
      • Video: non-authentic
      • Video: on location
      • Video: Peter Viney Interview
      • Video: What happened?

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