William-Shakespeare
Host Elizabeth Howard talks to South African Shakespeare scholar Chris Thurman about how the Bard is regarded, discussed, and performed in a postcolonial, post-apartheid country.
Reviews of three shows seen during a trip to Ireland and England — Shakespeare at London’s Globe and “Dublin Oldschool” and “Riverdance” in Dublin.
In the Actors’ Shakespeare Project’s likable staging of As You Like It, love looks pretty durable.
Chamber music under Shakespeare’s spell is responsible for one of the high points of the Chameleon Arts Ensemble’s current season.
Every few years a smart teen rom-com comes along that deftly puts a modern, and pleasingly iconoclastic, spin on a classic piece of literature.
Two divergent works of theater for the screen were at this year’s NYFF, an adaptation of Macbeth in black and white, and a raunchy sleeper from Romania.
Shakespearean’s version of the Bard comes off as somewhat Monty Pythonesque — we are usually marching along with “Men Men Men.”
Shakespeare’s role in American history is not immediately apparent — at least it wasn’t to me. Part of the considerable pleasure of reading this book is seeing how James Shapiro draws the connections.
Timon is a fascinating, if lumpy and bumpy, black comedy with a nihilistic sting, a lacerating parable about how the worship of gold warps individuals and society.
Shining leads make up for a problem play that, in this production, has been further problematized.
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