4 thoughts on “‘New’ Shakespeare play rediscovered

  1. Macbeth banned in Thailand

    THAILAND: Film censors have banned an adaptation of Shakespeare’s Macbeth, saying that it could “cause divisiveness” in the kingdom where it is illegal to criticise the monarchy.

    The Thai-language film Shakespeare Must Die is about a theatre group in a fictional country resembling Thailand that is staging a production of Macbeth, in which an ambitious general murders his way to the Scottish throne.

    Director Ing K said on Wednesday that censors felt politically violent scenes in the film “could cause divisiveness among the people of the nation.”

    http://www.morningstaronline.co.uk/

  2. Pingback: New Shakespeare discovery | Dear Kitty. Some blog

  3. Monday 3rd July 2017

    posted by Morning Star in Arts

    Julius Caesar

    Bristol Old Vic

    2/5

    Let’s be honest. Julius Caesar is not Bill at his best.

    Untrammelled by sub-plots, it tells the simple tale of concerns about Caesar’s ambition driving a conspiracy which leads to assassination followed by warfare to determine succession.

    With a thin storyline and little onstage action but with many words, this is a play about politics and power. It thus lends itself well as a vehicle to illuminate and analyse other political situations, historical or contemporary, with which parallels can be drawn.

    This may be direct as with the current New York production where Caesar has a blond comb-over and a bright red tie or, as in the recent version in Sheffield, the events are set against the current tide of populism. The play can be done “straight,” and often is, but the success of such a production will be that much more dependent on the skills of the actors and the subtlety of the direction.

    In this production director Simon Dormandy has Julian Glover (Caesar) and Lynn Farleigh (Calpurnia) heading a cast otherwise drawn from the Bristol Old Vic Theatre School. He’s opted for a “straight” interpretation and might have been better advised not to have done so.

    Admittedly, there production has its contemporary references — there are demonstrators with placards and the spraying of graffiti and even the chanting of “Oh, Julius Caesar!” as in “Oh, Jeremy Corbyn!”

    But that’s as far as it goes. I don’t think the suggestion is that Corbyn harbours imperial ambitions and this opportunistic but essentially meaningless nod to contemporaneity demonstrates the paucity of thought which lets the production down.

    Young actors may well have many abilities and, for the most part, those in this production showed why they had been selected by the Old Vic school. But basic skills are not enough. What young actors don’t have is life experience.

    The main players in the Caesar story were powerful and important middle-aged politicians and young actors need help and coaching if they are credibly to represent such characters. This production lets them down in this respect.

    Julian Glover, as Caesar, barely moves out of first gear but his gravitas and presence only serve to show up those who sought to remove him as over-excitable ingenues.

    On the positive side, Sarah Mercade deserves mention for a simple but very effective set enhanced by an exciting lighting plot by Paul Pyant.

    Review by Mick Greenway

    http://morningstaronline.co.uk/a-b056-Paucity-of-politic-nous-in-power-play-production#.WVp5c1FpwdU

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