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Twelfth Night at the Donmar Warehouse – Review

On October 28, 2002May 14, 2021 By helenistic No Comments

Harrowing hilarity

By Paul Taylor | October 28, 2002 | The Independent

He looks as though his copious blubber has been constrained from birth in a wing collar and buttoned-up pinstripe suit and that he must have emerged from the womb with that self-important beard and punctilious moustache. His gait is an effeminately officious cross between a march and a scamper; his tone is a prissily sibilant sneer; and he is forever consulting his watch with righteous impatience. At night, his locks are lovingly protected by a lady’s hairnet.

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Print Media Reviews Twelfth Night

Twelfth Night at Donmar Warehouse – Review

On October 24, 2002April 30, 2021 By helenistic No Comments

Mendes bows out brilliantly

By Charles Spencer | October 24, 2002 | The Telegraph

As Shakespeare wrote elsewhere, parting is such sweet sorrow, and I am not ashamed to admit I had a lump in my throat as the cast took their calls at the end of Sam Mendes’s farewell production at the Donmar.

It was partly because of the moving depth of his staging of this most bittersweet of Shakespearean comedies, but it was also the memory of Mendes’s tremendous achievement here over the past decade.

It is 10 years to the day since he reopened the Donmar with the British premiere of Sondheim’s Assassins, since when he has scarcely put a foot wrong. The theatre became fashionable under his directorship, but the buzzy atmosphere was always founded on excellence. From Friel’s Translations to Nicole Kidman in The Blue Room, from Electra to Privates on Parade, the Donmar has an unparalleled track record in great shows brilliantly staged.

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Macbeth Print Media Reviews

Macbeth at Tricycle Theatre – Review

On October 31, 1995May 9, 2021 By helenistic No Comments

A Round Up of Reviews

by BBAShakespeare.co.uk | 1995

PRINCIPAL CAST: Tom Chadbon (Duncan); Ewen Cummins (Banquo); Lennie James (Macbeth); John Keegan (Macduff); Helen McCrory (Lady Macbeth).

This production ran from 20 October – 18 November 1995.

“Nicholas Kent’s production of a play that could hardly be better suited to the Tricycle’s intimate auditorium is pacy and racy but patchily acted….Christine Marfleet’s set of curved, beaten metal panels that gleam in the firelight suggest both the distant path but also some future state, and a canny use of percussion adds to the atmosphere….But too many of the actors are ill at ease with the verse. Not so Helen McCrory’s Lady Macbeth, whose performance is in a different league to the rest – passionate, focused and artfully spoken. A great classical career beckons.” ~ Lyn Gardner, The Guardian, 1 November 1995

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