To his credit, Garry Wills does not attempt to tell us what Shakespeare or his contemporaries “really meant,” nor does he suggest that there are ways that these plays ought be staged.
Shakespeare may have written Measure for Measure as a dystopian satire of what it would be like if the Puritans were ever to take over England.
Among the most haunting aspects of Roman Polanski’s 1971 film version of Macbeth is his visceral depiction of the tragedy’s violence.
This staging of Much Ado About Nothing would make an excellent ice-breaker for a discussion between adolescents and adults about sexting
The intriguing notion of a down-and-out clown troupe struggling with a classic text propels this superb production.
There are laughs in this production of Twelfth Night, but the romantic payoffs are scarce, perhaps because the sit-com rhythms tend to swamp all else (including some of the poetry).
Is it the Bard or a magic show? The prestidigitation wins out given the wanness of the dramatic proceedings.
“Nothing Like the Sun” remains, for my money, among the best works of fiction inspired by Shakespeare’s life.
If “Henry VIII” is dramatically lacking when compared to Shakespeare’s other histories, what makes this production worthwhile is the care Actors’ Shakespeare Project has brought to staging it.
BTC’s experiment, while not without its faults, proffers an admirable model of the sort of creative thinking that more companies should emulate when placing Shakespearean drama in a contemporary American context.