Tag: shakespeare

“Antony and Cleopatra” at the Rondo Theatre, Larkhall, Bath, October 18th 2025.

by Ian Diddams
images by Penny Clegg and Shakespeare Live


“Antony & Cleopatra” is one of Shakespeare’s four “Roman Plays”, and chronologically is set after “Julius Caesar” as the new triumvirs Mark Antony, Octavius and Lepidus between them oversee the Roman Empire. Basically we start with Mark Antony all loved up, and avoiding his duties until recalled to Rome by Octavius to help fight pirates whilst playing down their distrust of each other. The rest of the play concerns itself with political chicanery egged along by the inevitable soothsayer complete with prophecies of doom and gloom … Our eponymous hero should have considered Julius Caesar’s similar warnings – but this is Shakespeare so why would he do that? Keen eyed readers may already have spotted a pattern with Shakespeare and prophecies of course… He makes some pretty dashed poor tactical mistakes over battles and ends up killing himself, leaving Cleopatra to similarly despatch herself in grief … keen eyed readers may already have spotted another pattern with Shakespeare and lovers killing themselves over misunderstandings… Shakespeare Live bring this Shakespearian tragedy to life on tour, opening at the Rondo.

The play takes anything up to three hours to normally complete – but director Jacky Crosher has superbly trimmed the text to just a hundred minutes, concentrating on the juicier scenes and real plot developments while using extraneous introduced Greek chorus style narrators to fill in the more prosaic plot areas. The result is a rollocking production that keeps the audience entranced but her directorial influences don’t stop there. The great naval battles on which Mark Antony’s fate resides rather than being glossed over as per the text are brought to the fore in riveting scenes of their own, played out with two full navies on a tempestuous sea via choreography and music. Similarly the land battle is performed in stylised choreography quite superbly.

All of this also wrapped with various well known musical items from Rodriguez to Black Sabbath. Full kudos to Jacky for creating such a wonderful melange of art styles to tell this tragedy.

The cast are no less excellent. When you portray a pair of lovers it is important to have on stage chemistry – a belief that the two characters are into each other, so how better to cast such a couple than with a real life couple; so step forward Mr. & Mrs. Finlay, Rob and Maria as the wonderfully played eponymous pairing. Andy Cork’s Enobarbus is sublime, Lucy Upward’s deferential yet sister-like Charmian delightful while Naomi Miller as Iras shines alongside her as Cleopatra’s companions.

Liz Hollis cameos her way almost sprite like as the inevitable Shakespearian soothsayer, all melodramatic cloak waving, and as a messenger and finally as Eros, squire to Mark Antony. Jeremy Reece advises Mark Antony smoothly while many of the already mentioned also then wade in as a clown, Egyptian and soldier.

Naledi Withers almost surpasses her excellent role of Octavius Caesar in her presentation – its that narrator thing – of a newspaper reporter, while in her main role in Rome she is excellently supported by Jeremy Reece (again!) as Lepidus, the far more sensible member of the Triumvirate! Naomi Miller also doubles up just as splendidly as Octavia, Octavius’ sister who gets married off to Mark Antony, while the stalwarts of Shakespeare Live Gill Morell and Graham Paton as ever shone in their roles as Dolabella and Thidias, and Agrippa respectively.

Tech as ever is delivered by the ever dependable Alex Latham, with more back stage stalwarts of James Dennis and Connor Palmer stage managing it all. The costumes are sumptuous, the set perfectly simple… a black box with a settee, easy to tour with and never distracting on the eye.

For a roller-coaster ride through post Julius Caesar Roman history, a love story, political chicanery and a tragedy you can do WAY worse than catch Shakespeare Live on tour – tickets available at

https://www.ticketsource.co.uk/shakespearelive

“Much Ado About Nothing” at Cleeve House, Seend, July 7th-12th 2025.

By Ian Diddams
Images by Ian Diddams and Shakespeare Live

Is it post watershed? Then I shall begin…  The etymology of the word “Nothing” is quite…  interesting… aside from meaning “zero” such as is today, historically it has had other meanings and pronunciations including “noting,” the writing down of musical notes…  and in Shakespeare’s era it had another totally different meaning, that being a slang term for female genitalia. So, with this in mind, Will’s comedy about the pursuit of female companionship and the alleged capriciousness of the distaff members of the human species, “Much Ado About Nothing” takes on a somewhat slightly different nuance …

Trawling the web for relative popularity of Shakespeare’s plays holds few surprises with regards which gets performed the most etc.  Unsurprisingly maybe “Romeo & Juliet”, “Macbeth” and “Midsummer Night’s Dream” feature highest (google is your friend here), and that trend continues with other “obvious” plays until we reach number seven in the list and “Much Ado About Nothing”, his tale of marital pursuit, deceit, jealousy and spurned love that all comes good in the end. The plot of such a Shakespeare standard needs no explanation here and YouTube can easily fill in the blanks for you, and so we move onto the beautiful background of Cleeve House, Seend, for this week’s performances by “Shakespeare Live.”

Directed by Gill Morell, her vision has set the play in pre–English Civil war times where tensions were rising and families’ split along royalist and parliamentarian lines. This is wonderfully portrayed here with the family’s soldier’s clearly cavaliers, with the opposing Don John and his entourage as parliamentarians. This is perfectly and simply set by some sumptuous costumes revelling in the brightness and pageantry of the Royalists, and the simplistic, wide collared black clothing of the Roundheads. The physical setting is regal too – with Cleeve House as a backdrop to the stage area we feel we really could be back in time, including use of the house’s own windows for the bedroom scene.

The entire play of course is premised on spying and eavesdropping – some for comedic value of course as both Beatrice and Benedick are spoon fed falsehoods as they eavesdrop on the knowing conspirators, but also surreptitious spying in the bedroom scene which in itself is a subterfuge akin to the likes of “Operation Mincemeat”. After all, the first casualty of war is truth.

There are three basic groups of characters in Much Ado – the family, the soldiers, the villagers. The family is portrayed by Alison Paine as a strong Leonata, the matriarch, Jeremy Reece as her brother, Antonio, Sarah Horrex superb as Hero, Leonata’s daughter, the wonderfully tempestuous and feisty niece Beatrice by Phobe Fung, and Kerensa McCondach as Margaret the gentlewoman and erstwhile friend to Hero.

The soldiers are more than well provided by Laurie Parnell as Don Pedro the prince, Peter Emuss as lovestruck Claudio, Oli Beech as Claudio’s best friend and Beatrice’s sparring partner and love-hate interest, Adam Sturges as Balthasar and Napoleon as the sneaky, jealous and conniving Don John, aided and abetted in his fifth column activities by Roger Hames as Borachio and Lucy Perry as Conrad.

That just leaves the villagers made up of the unflappable Simon Reeves as the  equally unflappable Father Francis, and of course, the best part of the show (personal opinion here! ) the Watch consisting of Paul Batson as Dogberry, Graham Paton as Verges, Penny Clegg as Seacole, Caroline Emuss as Pyke, and David Morrell as Oatcake,

Tech is provided by the ever resourceful Rich Carter, Alex Latham and Ellen Read, the previously mentioned wonderful costumes by Hermione Skrine, Caren Felton, Helen Holliday and Ellen Williamson, Music by Laurie Parnell. This was all kept running smoothly by the dream team of stage management James Dennis and Connor Palmer.

The play finishes with all loose ends neatly tied up and for those that don’t know the plot, no particular spoilers here though following a brief discourse at the eventual wedding scene I was reminded that as Tina Turner once sang… “We Don’t Need another Hero“

This is a well delivered rendition of Much Ado in a stunning setting – it really doesn’t get any better than this. The show runs all week until July 12th, including a Saturday matinee, and tickets are available from https://www.ticketsource.co.uk/shakespearelive

“The Taming of the Shrew” at the Rondo Theatre, Larkhall, Bath, June 18th-21st 2025.

By Ian Diddams
Images by Josie Mae-Ross and Charlotte Emily

Shakespeare wrote several plays that were termed in the late nineteenth century “Problem Plays”. These were some of his works that didn’t easily fall into brackets such as comedy, tragedy or history – usually covering at least two of those – but also dealt with uncomfortable social problems. When one looks at the basic plot of “Shrew” its difficult with our twenty-first century spectacles on to not include it in this classification. Unadulterated misogyny, gas lighting, and mental and physical abuse within marriage are not viewed as comedic obviously …  yet “Shrew” is universally billed as a comedy. The Rondo Theatre Company this week, however, sets to reflect these non-contemporary themes in a gender bent performance to highlight the inequalities and oddities of Shakespeare’s script.

It’s also a somewhat sumptuous treat – costumes (Harriet Hazelwood-Rose) are sublime with a red velvet theme running throughout, and the set whilst a very typical black box for Shakespeare nevertheless encompasses a balcony/second tier, an exciting addition at the Rondo.

Director Jazz Hazelwood-Rose had long planned this version of “Shrew”, using this gender-queered approach to (in their own words) “… examine how Shakespeare’s ‘comedy’ has a darker side that highlights how the gendered language we use affects how we see each other and interact with the world …”. That this is done so sublimely well is testimony to their vision, and the quality of the cast; very quickly the male v female “battle of the sexes” is forgotten, and the tale of bigotry and oppression just shines through. Alex Oliviere is simply phenomenal in her role as cock-sure (no pun intended!) Petruchio, wonderfully mirrored by initially surly and increasingly demure Toby Skelton as Katherine. Their stage chemistry builds throughout the play signifying not only Katherine’s submission to her husbands will, but also Petruchio’s adoration for her.

More than ably supporting them are Alana Wright as Hortensio, Megan Robertson as Lucentio, Charly Nehan as Tranio, Helen Taylor as Baptista, Yvonne Pauley as Gremio, and Charlotte Howard as Vincentio, to complete the female/male flips. Freddie Oliviere-Davies as Bianca performs the reverse Kate as it were, all light and softness – until married of course. Chris Constantine as Biondello and Matt Nation as Grumio follow a traditional casting, and both provide strong characterisation as Lucentio and Petruchio’s servants respectively, Matt Nation especially in an almost slapstick, court fool role. Teasel Howell, Will Prins, Sophie Turner, Ed Hodgkinson, and Moray Macdonald complete the cast as various servants, merchants, tailor, and rich widower.

The set as previously mentioned uses a two-level approach which is used very effectively – Geoff Rennie step forward for your design and implementation. Alex Latham provides the usual excellent “Technical Wizardry” and Steph Hazell and George Fletcher keep the whole thing running seamlessly as stage management.

In a time now where the main plot contains universally unacceptable traits – clearly more acceptable four hundred years ago – The Rondo’s production handles the subject matter with care and respect. This may not be a “problem play” by the usual definitions, but the jarring aspects of Petruchio’s “killing through kindness” are laid bare all the more through the gender queered approach.

“The Taming of the Shrew” is showing at the Rondo Theatre, Larkhall, Bath until Saturday 21st June, and is a perfect opportunity to see a lesser performed play from the canon…  and if you aren’t that sure of the background plots in particular, you would do well, in advance, to “Brush Up Your Shakespeare” … 

Tickets from https://www.ticketsource.co.uk/whats-on/bath/rondo-theatre/the-taming-of-the-shrew/e-moayov



Gender-Queered Production of Shakespearean Classic at Bath’s Rondo Theatre Raises Money for Charities

Photo credit: © Rondo Theatre Company / Jazz Hazelwood

A gender-queered production of William Shakespeare’s classic play, ‘The Taming of the Shrew’, will be performed at the Rondo Theatre in Bath this June, as part of Queer Bath and LGBTQIA+ Pride Month, with all profits being donated to charity……

‘The Taming of the Shrew’ is one of Shakespeare’s more challenging plays. The story centres on two siblings: Bianca, who is surrounded by suitors, and the fiercely independent Katherine, whose sharp tongue and violent outbursts have garnered them a fearsome reputation. Bianca cannot marry any of their suitors until Katherine is married – enter Petruchio, who is determined to ‘break’ and marry Katherine.

In this production from the Rondo Theatre Company, which has been the performing arm of the Rondo Theatre since 1982, the play takes on a daring new life where comedy and discomfort intersect. In a world where Petruchio is a boisterous woman and Kate is a shrewish man, this bold reimagining explores the power dynamics at the heart of Shakespeare’s comedy while unpacking how language shapes our understanding of gender and control. The Rondo Theatre Company has flipped the script, and audiences are invited to laugh and reflect on the complexities of gender by re-examining the ways comedy can reveal uncomfortable truths about societal power dynamics.

‘It’s been a fascinating process to get under the skin of these characters in such a refreshing way’, says Alex Oliviere, who plays Petruchio in ‘The Taming of the Shrew’. ‘‘Historically audiences were intended to rejoice in the sight of an outspoken and fiery woman being cowed by a violent and domineering man, and it’s been really interesting to display that power when the positions are reversed. We’ve had a lot of thought-provoking conversations in the rehearsal room about why it feels so different, and we hope that audiences will be prompted to do the same.’

‘The Taming of the Shrew’ is the Rondo Theatre Company’s annual charity production, with all profits being shared between Not A Phase and the Rondo Theatre’s ‘Revamp the Rondo’ fundraiser.

Not A Phase is a trans-led, nationwide charity committed to uplifting and improving the lives of trans+ adults, through awareness campaigning, social projects and funding trans+ lead initiatives.

‘We’re really pleased to donate half of this year’s charity production profits to Not A Phase,’ said Director of ‘The Taming of the Shrew’, Jazz Hazelwood, ‘with everything that is happening in the world right now it’s more important than ever to protect marginalised communities. With ‘Shrew’ we’ve created a space that is inclusive and led from a place of respect and acceptance for all. Not A Phase is a brilliant charity, and the work they do for the trans+ community touches the heart of what we’re doing and the values that this production upholds.’

The Rondo Theatre’s ‘Revamp the Rondo’ fundraiser seeks to replace the auditorium seating, and make other building improvements, at the Rondo which has, since 1989, been a place for nurturing local talent, a home for community theatre groups, and a venue for the best touring theatre, stand-up comedy and music – including recent appearances from Nina Conti, Prue Leith, Andy Parsons, Joe Wilkinson, and Milton Jones.

‘We are one of many local community theatre groups who call the Rondo Theatre home,’ says Alana Wright, Chair of the Rondo Theatre Company, ‘it’s a truly special venue in the city and we’re delighted to be donating half of this year’s charity production profits to the Revamp the Rondo fund, and give this well-loved theatre the boost it needs.’

‘The Taming of the Shrew’ takes place during both Pride Month (1 – 30 June), and Queer Bath (26 May – 30 June), a celebration of LGBTQ+ arts, culture, heritage and history in museums and venues across Bath. Queer Bath is a new citywide campaign – the first of its kind – led in partnership with Bath Arts Collective, WIG, and Bath’s museum & heritage community.

‘The Taming of the Shrew’ will be performed at the Rondo Theatre, St. Saviours Road, Bath BA1 6RT, from Wednesday 18th to Saturday 21st June 2025, 7.30pm.

More information and tickets are available on the Rondo website HERE 

“Blood Brothers” at The Mission Theatre, Bath, March 27th-30th 2025

by Ian Diddams
images by Ann Ellison.

What can possibly be better than watching a performance of “Blood Brothers” by Willy Russell?  Watching TWO performances of “Blood Brothers” by Willy Russell of course!  Next Stage Youth performed their dress rehearsals at The Mission Theatre last night, and with two casts we were treated to both of them in action.

The story-line of “Blood Brothers” is easily findable on the web if required, so I won’t bore you with it here, but Next Stage Youth deliver a stripped back – but by no means lesser for it – version of the musical. With most of the songs trimmed out to create a fast paced, bare boned, breathless  ninety minute production, the audience is kept fully engaged as the tale of twins separated at birth (sound familar?) takes us from city to country, working to middle class, struggles.

The set matches this approach – in the round, bare floor with clever use of eight hinged lidded boxes as prop containers, chairs, windows and walls and the actors do the rest. Clever tech from Kris Nuttal, Alex Tarasevych and Rowan Bendle, with choreography by Hayley Fitton-Cook and wardrobe by Vanessa Bishop paints all the pictures our minds need for this tale of friendship, jealousy, social extremes and madness. Voice coaches Kay Francksen and John Matthews deserve credit too for taking what are a group of West Country youth and getting them to deliver decently passable Scouse accents 😊

Principals are split between the two casts but the ensemble for both remains the same four core actors, a huge kudos to their abilities despite their young ages. I’ll wrap up with the cast lists at the end of this review, but it is more that fair to say all the casts show passion and no little assurance in delivering their characterisations as separated twins raised each side of the tracks (sound familiar?), their mothers, best friend and the wonderful narrators (more of them later!). It would be unfair to pick any of these principles out for any more praise that others but I will say I had the pleasure of seeing two generations of the Chivers family perform in two nights in two different shows and the dynasty forming is clear! Also Dilys Hughes deserves a mention as it’s the second time I’ve had the privilege of seeing her act after her appearance in “Jerusalem” recently.

The pairings of Mrs Johnston and Micky were spot on. Both the Eddie’s almost stole the show. The pair of Lindas broke all our hearts as the devoted girlfriends of both twins, while both Mrs Lyons craft the character’s descent into madness superbly – sound familiar?. And the Narrators excel in both casts, including the siblings Gully and Edith Kuenzler playing opposite each other. And another mention to the pairs of twins which are devoted to each other until Micky rejects Eddie and his best friend becomes his enemy – sound familiar?

This just leaves my appreciation of the director Ann Ellison. The stripped back show she has developed really works but it’s the little touches that really shine. The narrators appear as marionette puppeteers, controlling the characters as the story unfolds….  Sound familiar?

So those allusions of familiarity?  Well, four hundred years is a LONG time in theatre…  but what stood out to me again and again were the parallels in the story and developed by Ann just shout Shakespeare to me. We have twins separated at birth ( Comedy of Errors, Twelfth Night) but the clear parallels are with Macbeth…  where Eddie is Banquo and Mickey is Macbeth in their friendship story arc, Mrs Lyons is Lady Macbeth in her descent into madness, and brilliance of brilliance the marionette puppeteers controlling the destiny of the characters are the Witches. Sublime. Goosebumps.

The play itself encompasses so much; it’s a story of superstitions – shoes on tables, a single magpie, prophecies of separated twins. Foreshadowing of the twins eventual demise with the use of a particular implement throughout Mickey’s personal timeline. And almost biblical allusions to two mothers – one mother giveth, the other taketh away. And Russell – and Next Stage Youth – leave us with existential queries…  is Eddie patronising? Is Mickey ungrateful? Had Mrs Lyons selected the other twin would the story have ended the same – nature versus nurture? And overall it is a play that presents a very downbeat view of married life from both ends of the socio-economic spectrum, wonderfully portrayed by these young actors.

“Blood Brothers” is showing this week Thursday 27th March to Sunday 30th March at 19:30 with matinees at 14:00 Saturday and Sunday



Tickets from https://www.missiontheatre.co.uk/tickets?category=Blood Brothers

“Pericles” at the Wharf Theatre, Devizes, October 21st–26th 2024.

by Ian Diddams
images by Chris Watkins Media, Jeni Meade.

It would be fair to say that once William Shakespeare found or invented a plot device, he wasn’t one to avoid using it again. And again. And – well…  again, and again. Let’s play “Shakespeare Bingo” and “Guess the Play”…

There’s a STORM AT SEA, a SHIPWRECK, a HUSBAND is SEPARATED from his WIFE, FAMILIES are SEPARATED, each thinks the other is LOST or DEAD, somebody is thought to be DEAD but is actually ALIVE, a RULER abuses his position of POWER, there is a MAGICIAN controlling SOMEBODY, BROTHEL OWNERS, PIRATES, and in the end EVERTHING is resolved and family REUNITED.

Hmmmm.  Well, it’s a tricky one.  The Tempest? Twelfth Night? Comedy of Errors? Romeo and Juliet? Merchant of Venice? Othello? Winter’s Tale? Much Ado? All’s Well? Henry IV Pt 1? Measure for Measure? Cymberline? Two Gents? Hamlet?

All of these plays have at least one and often more of the attributes listed – Will liked to avoid working on new plotlines for sure. However, at the Wharf Theatre, Devizes, handily enough as it turns out, placed beside boats on the water to add even more background to a tale of watery confusions, is yet another Shakespeare play reliant on all of those points.

Pericles.

No, it’s not some sort of small whelk, or a garden perennial. It’s the story of an eponymous hero who escapes from a dodgy tyrant by running away to sea and…  well, you can piece the rest together from that second paragraph and Wikipedia.  Needless to say, all’s well that ends well. So to speak.

Now Pericles is not a popularly performed play. Indeed, according to a 2024 ranking of most performed Shakespearian plays it comes in 22nd of 49 positions since 2012. So it’s a real treat to be able to see it at a local theatre which may understandably have otherwise put on one of the “Big Six” [*], and running at the same time as the same play at the RSC to boot. The Wharf is no stranger either to putting on lesser known Shakespeare of course, having shown “Measure for Measure” in 2023. One reason for this wonderful opportunity to see this play is that the director, Nic Proud, is working his way through directing the entire canon – and this is his twenty-fifth play of that list, and another is the bold and open approach of the Wharf’s artistic director John Winterton.


The play rattles along – Nic has trimmed the script to the key plot points, although as he says the play is really a series of connected moments and he has created a smooth storyline using those moments. The usual top technical team (Three Ts!) deliver effects and lighting with aplomb of course, leaving the stage ready and waiting for the actors to take us on Pericles’ voyage not only of the high seas, but of his fate and inner turmoil. The set is simply adorned with white and purple drapes, which cunningly transform into a jousting tilt barrier, and ethereal wings of the goddess Diana. A roped balcony provides some height to the set.

Our titular character is well delivered by Chris Smith, one of the four cast who have only one part to concern themselves with (has two shipwrecks!), the others being Danielle Cosh as the ethereal Thaisa (dies at sea, comes back to life!) , Louise Peak as the perspicacious Helicanus, and Nic Proud as Thaliard, stepping into the role at a late stage when an unfortunate injury to Steve Brooks saw him unable to continue – we wish Steve a speedy recovery and hope he can return to the Wharf in the future.


The other six cast members play between them a bewildering array of twenty-one other characters! That list would run to volumes but huge kudos to Abigail Baker playing Marina, Pericles daughter (lost at sea – now THERE’s a thing…), Andy Bendell as the seedy bawd (!) Pander, Tony Luscombe as the dastardly Cleon (and a sailor in a  storm!), Sian Stables as even more dastardly Dionyza (and a sailor in a storm!) , Pete Wallis as the vengeful Antiochus (and a pirate!), and Debby Wilkinson as a brilliant mix of servant, bawd (!), sailor (in a storm!) and fisherman!


Nic’s scissors have created a play about the length of a football match, and which is wonderfully easy to follow – every cast member deliver the lines of Elizabethan English so well that its totally understandable and comprehensible. The costumes are totally sublime so once again chapeau (see what I did there?) to Gill Barnes and her team.

All that remains to say is take this chance to see a play most theatres and companies steer clear of. And if nothing else if you will save your self a drive to Stratford and back to see it.


Pericles is performed at the Wharf Theatre from October 21st-26thth 2024.
Tickets from https://www.ticketsource.co.uk/the-wharf-theatre/pericles/e-plavyr

[*] Big Six
1. A Midsummer Night’s Dream
2. Hamlet
    Romeo and Juliet
4. Macbeth
5. Twelfth Night
6. Much Ado About Nothing

“Macbeth” at Cleeve House, Seend, July 1st-6th 2024

By Mick Brian
Photos by cast and arenaphotography

William Shakespeare’s tragedy, inspired by real life eleventh century Scottish kings, is well known by anybody that’s done GCSE (or even O-Level!) English I am sure, and Wikipedia can fill in the gaps, so I won’t bore you with the storyline…  other than to say as AC/DC would have it “If You Want Blood, You’ve Got It” as Macbeth is enticed by three witches to pursue the throne of Scotland, and in so doing murders Duncan the king, then sees off his best chum Banquo, though fails to also finish Fleance, Banquo’s son who the witches also suggest may become king one day. Lady Macbeth is his conniving ball breaking wife, and eventually Macduff, the ultimate C-section delivery sees him off to bring Duncan’s son Malcolm to the throne.

The cast of “Shakespeare Live”, a Wiltshire/Bath based company, bring this tale of blood and sweat if not tears to life at Cleeve House which itself “hath a pleasant seat”, near Seend this week in their traditional summer outdoor production. Bring a picnic, sit beneath cover for the show lest it rains or on a blanket as a groundling, and watch this talented cast do dastardly deeds and much plotting, set against the beautiful Wiltshire countryside as a background. Directed by John Jameson Davis, he brings this four hundred year old play to vibrant life. The tech team of Alex Latham, Oscar Davis, Richard Carter and Martin Moffat produce such atmosphere especially in Act 2 as darkness descends…  Macbeth as a play is set mainly at night-time, so the sun disappearing right on cue as the west yet glimmers with some streaks of day is sublime.

The set is simple yet effective – that Wiltshire backdrop provides everything that’s needed, with hints of Wiltshire presented in one corner that tie in with the witches perfectly – you’ll need to come and watch it to see what that is 😊


Our main man is superbly played by Laurie Parnell, brilliantly combining with Stephanie Richards as Lady Macbeth. The two of course see off Duncan, imperiously played by Gill Morrell.  Faithful, then not so faithful thanes are provided by Simon Reeves as Lennox, Taruna Nalini as Ross, Bryce Collishaw as Monteith and Graham Paton as Caithness, aided and abetted by Josh Phillips as Macduff, and Francis Holmes as old Angus. Somebody has to do all the sundry stabbing and Ian Diddams as Seyton and Bryce Collishaw as accompanying ne’er do well provide the means to a sticky end seeing off Oli Beech as Banquo, Charlie Aldred as Young Macduff and Kerensa McCondach as Lady Macduff. Centre stage of proceedings of course are three witches…  suitably manically presented by Phoebe Fung, Penny Clegg and Andy Cork. Gentlewoman Lydia Harman-Verrell and Doctor Roger Hames provide for Lady Macbeth’s wellbeing, and it’s all mopped up in time for Sarah Horrex as Malcolm to finish it all of with a rousing speech…  though Fleance – Charlie Aldred again – is never far away… Its not all darkness, blood and tragedy of course – Graham Paton wades in with some welcome comic relief and the obligatory Shakespearian knob-gags as the philosophical and  equivocating Porter.

Costumes are sublime – Hermione Skrine, Caren Felton and Helen Holliday have superbly dressed the cast in “borrowed robes”, and there are no “strange garments” to be seen!


So dust off your O-Levels and GCSEs, grab a friend or three, a blanket, a picnic, and come and enjoy a well presented tale of power, greed and witchy shenanigans in the beauty of the Wiltshire countryside.

“Macbeth” is performed at Cleeve house, Seend from July 1st to July 6th at 8pm, as well as a Saturday matinee at 2pm.

Tickets are available from https://www.ticketsource.co.uk/shakespearelive

Shakespeare Live – Autumn Tour

An early and rarely-performed play, ‘Two Gentlemen of Verona’ has feisty heroines, lovelorn & bickering young men, dictatorial parents, foolish suitors, cross-dressing, letters galore, wild outlaws, witty servants, a big fight, and a lugubrious clown with a dog, and Shakespeare Live are touring Wiltshire with it, So buyeth thy ticket f’r the p’rf’rmance….

Shakespeare Live, best known for over 30 years of outdoor productions in Wiltshire, have been touring their popular annual autumn show for several years, focusing on plays less often performed or on original Shakespeare-based pieces. This year, as often before the pandemic,  the production was picked by the RSC for performance at their open-air Dell space in Stratford upon Avon in August.

Directed by Gill Morrell. featuring well-known Shakespeare Live actors together with some talented newcomers, including Bernard the golden retriever, and featuring fabulous medieval costumes and live original music, Shakespeare Live promises ninety minutes of fast, furious, and very, very funny entertainment.

The autumn tour starts on Saturday 14th October at The Cause in Chippenham, then The Merlin in Frome on Sunday 15th, two nights at The Mission (Tuesday 17th and Wednesday 18th), The Town Hall in Corsham on Thursday 19th, and the final show at The Marden House Centre in Calne on Friday 20th. All shows start at 8pm and tickets are £14 from www.shakespearelive.com.

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Preview: Shakespeare’s Henry VI at The Rondo Theatre, Bath

Henry VI by William Shakespeare, Rondo Theatre, July 5th-Sat 8th, 7.30pm. A Preview – by Ian Diddams…….

Shakespeare wrote three plays about Henry VI – imaginatively entitled part1, part 2, and part 3. But in true George Lucas style, part 2 was written first, then part 3, with the prequel – part 1, written last.

So what is better than watching one Henry VI play? Watching all three, together of course! And that is exactly what the Rondo Theatre Company, handily placed, with nominative determinism, at the Rondo Theatre, Larkhall, Bath is doing in early July this year, as its annual charity performance.

Now – Shakespeare has a bit of a reputation for lengthy plays. Hamlet takes about four hours to perform, and certainly several of his output would take over three hours easily. All three parts of Henry VI performed back-to-back would last longer than a day’s test cricket, with no likelihood of finishing early for bad light. But fear not – Director Nic Proud has taken Occam’s razor (and Wilkinson’s sword, not to mention Mac’s knife) to it all and has whittled it down to just the length of a football match plus a half time for a cup of Bovril and a meat pie.

I can feel the Shakespeare aficionados quaking already. But all the real essence of Henry VI is there – Margaret, the scandalous queen and her naughty boy Suffolk, arrogant Warwick making at least one king anyway, Richard P fighting for his right to party – well rule at least – Edward who eventually comes fo(u)rth, and of course the arch villain of the whole piece eventually, towering over everybody, Richard (do you see what I did there?). Oh – and some bloke called Henry VI apparently, all limp wristed, cuckolded and basically a bit rubbish as a wannabe king.

Rest assured though, dear reader and Shakespearean buff. This amalgamation of Henry VI belts along at frenetic pace, with daggers, swords, and treachery at every turn. Dash out to the loo and you are likely to miss at least one murder and a heap of skulduggery. In true weeping angels’ fashion, don’t blink!

We begin with Henry V’s death and the crowning of Henry VI – then a whirlwind marriage arraignment of Margaret (with Suffolk as her bit on the side of course), Richard Plantagenet’s vocal claim to the crown, top soldier Warwick’s clear-headed countenance, and the Wars of the Roses. The battles of Wakefield and Tewkesbury enacted on stage with swords and daggers a-flashing, with their deaths of Richard P and Prince Edward to boot. And of course the slaughter of the play’s titular character by bad boy Richard, and the elevation as monarch to Edward IV…. and a final twist in the tale from tricky Dicky himself.

Nine actors, one director and an assistant, a tech crew and the Rondo theatre. Plus a few swords, a couple of daggers and some stunning costumes by Chrissy Fry. And for a particular Devizes’ interest, two Devizes based actors (editor’s note: yes, it’s you and Lucy Upward, isn’t it? Cheeky!) appear as part of this too, you lucky people! The Rondo theatre is located just a 30 minute drive from Devizes, with lots of free evening street parking, with a pub and Indian restaurant handily located within 100m of each other – so make an evening out of it!

What more could really you ask for?

Henry VI is performed at the Rondo Theatre, Larkhall, Bath between July 5th and 8th, 7.30 pm each evening. Proceeds from the performance will be donated to the Royal Osteoporosis Society, as this is the Rondo’s annual charity performance.

Tickets from
https://www.ticketsource.co.uk/rondotheatre/henry-vi/e-zqyvmv

See you there – if you’re Bard enough!

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REVIEW – Measure For Measure @ Wharf Theatre, Devizes – Monday 27th March 2023

First Night Triumph

by Andy Fawthrop

Images used with kind permission of Chris Watkins Media

Again it was a real pleasure to bowl along to our town’s little theatre and to enjoy a wonderful opening night.  The fare on offer was that Mr. Shakespeare’s tragi-comic offering Measure For Measure……

To be honest, it was (many) years since I’d last read or seen a performance of this often neglected play.  It just doesn’t get wheeled out as often as those wonderful chaps Othello, Hamlet and Lear.  I wonder why that is?  Perhaps it’s because it doesn’t quite plumb the emotional and tragic depths in the same way as those giant figures?  Or perhaps because it’s not as funny as the classic comedy capers we see in Midsummer Night’s Dream?  Or maybe tragedy and comedy don’t mix together too well in the same play?

Notwithstanding these difficulties, Liz Sharman’s production made light of such concerns, and a competent and well-drilled cast delivered an excellent opening night performance to a near-full theatre.  The themes of corrupt power, of vice vying with virtue, of hypocrisy and double dealing remain as a relevant commentary on the political events of today, to say nothing of the resonance of the #MeToo movement.  In this case, of course, The Bard of Avon ensures that all is wrapped up well at the end, where deception is uncovered, virtue is rewarded and the criminals are punished.  If only that happened so neatly in real life.

Using a sparse black set, a simple staircase and a gallery, and little in the way of props or scenery, the focus was very much on the words and the actions.  The only real exception was the frequent use of cloaks and hoods, a necessary device given that the plot hinges on disguise and deception.  Pete Wallis as Vincentio, Simon Carter as Angelo, Paul Snook as Lucio and Eleanor Smith as Isabella all delivered their leading roles with great aplomb, but they were just as ably supported by stalwarts of the Wharf Lewis Cowan. Oli Beech and Tor Burt.  And it would be churlish not to mention the old “rude mechanicals”, Ian Diddams as the bawd Pompey and Lesley Scholes as the prostitute Mistress Overdone, whose exaggerated comic performances gave the show that comic lift that it occasionally needed.  It was worth the entrance money alone to witness the bizarre shirts worn by Ian.

All in all, a great ensemble performance from faces both new and familiar.  Well played!

The show runs until Saturday, so I urge you to go and see it.  There are still just a few tickets left, available via The Wharf’s website.

Future productions at The Wharf Theatre:

Sat 1st April Open Day at the Wharf

Sat 15th April                                      Walk On Back To Happiness

Mon 8th – Sat 13th May                   The Railway Children

Sat 20th May                                       Jack & Jordan Sketch Show

Fri 26th/ Sat 27th May                      Having A Baby

Thu 8th – Sat 10th June                    Watson & Brown Little Big Band

Sat 24th June                                      California Dreams

Thu 20th – Sat 22nd July                   Girls Like That

For all information about The Wharf Theatre and its productions go to www.wharftheatre.co.uk

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Following her recent successful production of As You Like It, at Devizes’ Wharf Theatre, Liz Sharman returns with another Shakespeare masterpiece, Measure for Measure.

Often cited as one of Shakey’s Problem Plays, characterised by complex and ambiguous tones, pugnaciously shifting between straightforward comic material and dark, psychological drama, Measure for Measure is a predecessor to tragicomedy.

Written between 1603-4 Measure for Measure is set in a Vienna which has seen vice run riot. Beset with brothels and loose morals the city has also lost its respected leader. Angelo, left temporarily in power, attempts to restore order by reinstating long-neglected laws against immorality. However, when a novice nun, Isabella, comes to plead for her brother’s life, he proves himself to be both hypocritical and corrupt when he attempts to strike an intolerable bargain.

Measure For Measure is a hidden Shakespearean gem that has enjoyed a popular revival in recent years thanks to its fresh relevance to the social movement against sexual abuse and harassment, #MeToo. Themes of justice and hypocrisy are woven in typically Shakespearean fashion with comedy and a fast-moving, constantly twisting plot.

Wharf Theatre

The play runs from March 27th to April 1st 2023. Tickets can be purchased by ringing 03336 663 366; from the website Wharftheatre.co.uk and at the Devizes Community Hub and Library on Sheep Street.

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The Rondo Theatre does Macbeth

Review by Mick Brian

Photos by Gail Foster

“It will have blood, they say; blood will have blood.” So says Macbeth to Lady Macbeth following his vision of Banquo’s ghost….

And audiences at the Rondo Theatre Company’s performances of the titular show last week were not deprived of that substance. From slit throats, gory locks and shirts, to bloodied faces, neckerchiefs and a finale of a trail of blood as Macbeth’s body is unceremoniously dragged from his home, there was no letting up of the blood (pun intended) throughout the riveting two hours of the show.

Directors Matt Nation and Will Jesmond de Clermont’s vision of a 1920s London organised crime gang setting delivered – Peaky Blinders meets William Shakespeare with a gritty, no holds barred presentation of violence inherent in the struggles for supremacy, whether over rival gangs, traitorous turncoats or internal seizure of power and the retributions to maintain power. But this was no pastiche of Tommy Shelby and Co. – this was full Shakespearian tragedy brought into the 20th century brilliantly. Chrissy Fryer’s costumery sublimely captured the era with tweeds, caps, flapper dresses and the ubiquitous used of orange gang colours throughout as neckers, ties, hair ribbons and pocket handkerchief. And no more so that the thoroughly perfect witches, played by Sophie Kerr, Tasha Bye and Anna McGrail, as drug addled opium den management resplendent in flapper dresses, overseen by the powerful Maria Finlay as Hecate.

Set design was simplistically excellent. Duncan’s gangland headquarters a timber merchants’ front – the Birnam Wood Co. of course – and a gauze separated backstage area for the opium den. Which brings further praise for the lighting from Andy Cork, with the dark, sombre mood of the play enhanced by subtle changes… accompanied by the brightness of the opium den to display the rich colours of the silks and drapes therein.

And so to the rest of the cast. Not a single weak member – all thoroughly convincing and believable, fronted by the perfect pairing as Sam Fynn as Macbeth, and Alice Grace as his scheming, power hungry wife. We all looked to the lady as she ensnared her uncertain husband, then dealt with the lecherous and seedy Duncan in turn and tidied up the mess left by Macbeth. Sam Fynn portrayed the slide into madness perfectly as his world collapsed around him, culminating in his torment when Lady M kills herself. I challenge anyone to find a more harrowing depiction of these power crazed lovers, one coldly calculating, the other increasingly crazed.

Rob Finlay played the jovial Banquo who realises oh too late that he is on the hitlist, then the battle hardened and focussed Siward – once he had shaken his gory locks and broken the good mirth at the banquet of course. Maria Finlay as well as Hecate provided wonderful comic relief as the porter cum cleaner – and invented a whole new scene as an epilogue swabbing the floor of Macbeth’s blood. To complete the family set, Freddie Finlay in classic casting style played Fleance, Banquo’s son, as a no mean wielder of a razor himself.

More double up casting saw Steve Brookes as the contemplative, pipe smoking Menteith and a murderer, enacting Macbeth’s violent requests with his fellow despatcher, Ian Diddams. Praise is needed here especially – the fight scene between these two, Banquo and Fleance left no holds barred with stabbings, slicing, punches, and the razored throat cutting. As well as murdering at the drop of a surly hat, Ian Diddams opened the play as Duncan – far from the oft played kindly benevolent leader, this was a nasty, lecherous characterisation fully deserving of losing his life – and fully fitting the gritty vision of the directors.

Thence to Ross, played by Becky Waters, and Lennox , Natalie Prescott, two increasingly disillusioned gang members, And Jack Strawbridge as Malcom, whose journey moved from uncertain, shy son of Duncan to assertive, and even nastier eventual victor, his metamorphosis highlighted by the wash of red light in his victory speech… all that was needed was unfurled swastikas to finalise the image portrayed. Lady Macbeth’s doctor was elegantly and eloquently portrayed by Julia Marshall-Wessendorf… all crisp and professional demeanour, not totally supressing the disquiet and concern beneath. Two further younger cast members joined Freddie Finlay in the show also – Dilan Minto as the brave but doomed Young Siward, hatred for Macbeth pouring from his every pore, and Scarlett Nation, the youngest cast member effortlessly working her way through servant, messenger and slaughtered pretty chicken of Macduff.

And speaking of Macduff… Lucy Upward played the angry Lady MacDuff, remonstrating against the ills of the world as an abandoned wife… and screaming her way to her death before brilliantly appearing as a west country maid to the Lady of the house. Which leaves the hero of the hour… MacDuff himself, silkily played by Chris Constantine exacting revenge for his family’s slaughter by seeing off the chief protagonist in a slashed throat and streak of blood left on set.

Two hours of non stop action delivered at a frenetic pace. Two hours of truly class acting and technical presentation – the piece de resistance being the genius portrayal of Banquo’s lineage of kings presented to Macbeth by the witches. And this is “amateur” theatre – some bloody amateur production that was I say (NOT!) … and bloody they were indeed by the end.

“It will have blood, they say; blood will have blood.”

And they did.

Macbeth, by The Rondo Theatre company, at the Rondo Theatre, Larkhall, Bath, July 6th – 9th 2022.

REVIEW – Devizes Arts Festival – The Second Best Bed @ The Merchant Suite 23rd June 2022

The Plays What She Wrote

Andy Fawthrop

The Devizes Arts Festival’s presentation last night was a right little gem.…

Alright, it definitely helped if you were slightly interested in William Shakespeare and his back-story, but it certainly wasn’t compulsory in order to have found this production quite fascinating. The central conceit of this compelling monologue, superbly played by Liz Grand, was that her recently-deceased husband William, that “upstart crow”, hadn’t in fact written any of his famous plays and poems at all – and that she, Anne Hathaway, was the real literary genius behind the scenes. Addressing a bust of the bard in her bed-chamber, occasionally sitting upon and referring to the eponymous second-best bed, Anne recounted in hilarious detail how the two of them had, jointly, carried off this major deception over the many years of their marriage.

The piece managed to convey both much factual (or at least conjectured) biographical detail – their marriage, the deaths of their children, the vagaries of the court and the theatrical players of their times – as well as the comic flights of fancy that constructed the central myth of bard’s true authorship. Her description of her trips to London, disguised as a man, to see her own plays performed on the stage, and debated in the taverns, whilst passing unrecognised by her oblivious and complacent husband were hilarious. And to later catch him in flagrante with not just one, but two, whores, just proved to her that her that the man was none too bright.

Anne, now widowed, spoke of her regret that her contribution, indeed her literary genius, had not been recognised. It was not now enough, following William’s death, to simply claim authorship since no-one would ever believe her. It would have needed Will to admit the deception, to corroborate the deceit, whilst he was still alive. And the chance of that had now gone forever. She railed at her ex-hubby – a man who couldn’t even spell his own name the same way twice – for having taken all the credit.

There was some clever stuff here if you listened carefully, with many famous lines from both the plays and the sonnets freely scattered in among the scripted lines, and some hilarious explanations of why certain things had been written the way they had. Indeed one of the highlights towards the end was the now-dead Bard arguing with his own genius wife about why she’d written the various roles of the plays’ heroes and heroines the way she had. Richard III, Macbeth, Hamlet, Lear, Othello, and all the flawed tragic men were swiftly eviscerated, and the roles of the women – Lady Macbeth, Juliet, Desdemona, Cordelia, the “Dark Lady” and the rest – were all grounded in the lives and feelings of real, oppressed women.

Both the script, and Liz Grand’s performance, were a tour de force, eagerly lapped up by an appreciative audience. An entertaining and instructive evening all round.

The Devizes Arts Festival continues only for two more days until Saturday 25th June at various venues across town. Tickets can be booked at Devizes Books or online at www.devizesartsfestival.org.uk

Shakespeare Back at the Wharf Theatre

Aye, heareth this, mine own cater-cousins, Shakey is backeth at the Wharf Theatre in Marcheth; timeth to beest did enlighten and amus’d.

 
Liz Sharman, who directed the incredibly successful, “A Funny Thing Happened on The Way to The Forum” last year, is taking the helm again for William Shakespeare’s “As You Like It;” it promises to be a strong show.

 
Showing from Monday 11th to Saturday 16th March at 7.30pm, this 1599 pastoral comedy has remained an audience favourite for over four hundred years.

 
Duke Senior has been usurped by his younger brother Duke Frederick and is now exiled from the controlling confines of court. His daughter Rosalind and her cousin Celia have also run away and arrive in the forest with Rosalind now dressed as a young man in order to avoid detection. Others taking refuge amongst the country folk of the Forest of Arden include Rosalind’s admirer Orlando, the court fool, Touchstone and melancholy traveller, Jaques, who gives many of Shakespeare’s most famous speeches including “All the world’s a stage”, “Too much of a good thing” and “A fool! A fool! I met a fool in the forest!”

 
As with all good comedies much confusion ensues amongst the wooing as society’s rules are overthrown. As You Like It remains an exuberant theatrical journey featuring several songs, a wrestling match, a joyful quadruple wedding and no funeral!

wharf

Tickets (£12/under 16s £10) can be purchased from Ticketsource at: https://www.ticketsource.co.uk/the-wharf-theatre/events or at the Devizes Community Hub and Library on Sheep Street, Monday to Friday, 9am-5pm or by ringing 03336 663 366.

 
To find out what else is on at the Wharf pick up a new Spring/Summer brochure which is now available from the Community Hub and Library and many other outlets around Devizes.

 
For further information contact Karen Ellis: http://www.publicity@wharftheatre.co.uk

 

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