Theatre review: The Tempest(Shakespeare's Globe & Tour)

The second of two tiny tour shows playing at the Globe this summer is Brendan O’Hea's production of The Tempest; not a play I like as much as the companion piece, As You Like It, but of course the flipside to that is that I don't come into it with quite as high expectations. So while it's still true that these smaller-scale shows suffer from the lack of a full crowd (the make-do-and-mend style is endearing but really gets much of its energy from audience interaction,) this is two hours that go by pretty briskly. Prospero (Mark Desebrock) was deposed as Duke of Milan after showing a complete lack of interest in doing the job, and fled to sea with only his baby daughter and a set of magic books that he used to obtain vast powers. On arriving on a small, almost-deserted island, he used these powers to enslave the inhabitants Ariel (Emma Ernest) and Caliban (Stephenson Ardern-Sodje,) before waiting years for a chance to take revenge on the usurpers and reclaim his dukedom.

Theatre review: As You Like It(Shakespeare's Globe & Tour)

Returning to the Globe and beyond for 2021 are Michelle Terry's version of the Tiny Touring Shows, which sees Brendan O'Hea direct the same small cast in three stripped-back Shakespeare plays. On tour, these mainly play as "Audience Choice," with the decision on which of the plays will be shown at any given performance left to a last-minute audience vote. Unusually, this year that choice includes one play that's also part of the main season, so presumably to avoid confusion with the Sean Holmes version still playing, A Midsummer Night's Dream can only be seen in London if and when it wins one of these votes. But the other two have as usual been given a few regularly scheduled dates at the Globe, and my first encounter with this year's touring ensemble is an enduring musical favourite that matches the productions' actor-musician aesthetic, As You Like It. Set mainly in a rather idyllic Forest of Arden, most of the characters are nobles and courtiers banished from court after a coup, who hang out in separate groups, sometimes in disguise, despite the fact that they're all either related or already knew each other and could have easily just reestablished their old dynamics.

Theatre review: Labyrinth

Playwright Beth Steel seems to like titles reminiscent of kids' classics: Much as her Wonderland featured miners at the bottom of the tunnel rather than a white rabbit, her Labyrinth offers up bankers instead of David Bowie and muppets. In fact the reference that most often came to mind was Lucy Prebble's ENRON, as Labyrinth too aims to illustrate more recent financial collapse through the story of a historical one - in this case the late 1970s / early 1980s mountain of debt that crippled South America. Hampstead Theatre have brought back their recent discover Sean Delaney and put a whole show on his shoulders as John, son of a fraudster and determined to make a fortune in a more reputable way himself. He's taken on by a bank that specialises in making loans to foreign governments, and learns from Alpha male Charlie (Tom Weston-Jones) how the world is run on behind-the-scenes handshake deals.

Theatre review: Plaques and Tangles

Plaques and Tangles are two kinds of formations in the brain that are thought to be responsible for Alzheimer's Disease; tangles are also a good description of how Nicola Wilson's play is structured, and not always in the way the playwright, and director Lucy Morrison intended. Megan (Monica Dola) is in her forties, and fast approaching the age at which her mother (Bríd Brennan) died, driving a car the wrong way down a motorway. She had a hereditary form of early-onset Alzheimer's, and as she starts to forget words and get her memories mixed up, it becomes increasingly obvious that Megan has inherited it. In fact, concerned about whether she had the gene, she took a test decades ago, but never told her husband Jez (Ferdy Roberts.)

Theatre review: Romeo & Juliet (Shakespeare's Globe & tour)

My first trip to the Globe's Summer 2015 season coincides with the surprise announcement of Emma Rice as its next Artistic Director. It'll be interesting to see if she continues what has become one of the trademarks of the Dominic Dromgoole era: The "tiny" touring productions of some of Shakespeare's most popular plays, that see a handful of actor-musicians play all the roles. Last year's great Much Ado About Nothing is due back in a couple of months' time, but first the new production, and as comedy and tragedy alternate on these tours, it's the turn of Romeo & Juliet. Dromgoole and Tim Hoare direct a cast of eight actors plus two musician/stage hands, and the usual rustic look (designs by Andrew D Edwards) has a suitably Italian flavour in this story of fair Verona, where for generations the Montague and Capulet families have been at each other's throats, the original cause forgotten. A friar sees a way to end the feud - he succeeds, but not in the way he'd envisaged.

Theatre review: Donny's Brain

Donny (Ryan Early) is in hospital with brain damage following a car crash. Neurologist Al (Nikesh Patel) is studying him, helping him piece together the parts of his memory that he's lost, and he seems to be making some slow progress. But what would really help is if his partner Emma (Emily Joyce) and her daughter Flea (Skye Lourie) were to visit him, and he can't understand why they haven't. Actually he and Emma had a messy break-up two years ago, and Donny's memory has reset to three years ago when he still loved her - erasing in the process his memories of new wife Trish (Siobhan Hewlett.) Hampstead Theatre's Downstairs season returns with Donny's Brain, Rona Munro's bittersweet play about what might happen if someone really did get the opportunity to turn back the clock on a failed relationship. As the initially angry Emma, who hasn't seen Donny since the break-up, gets a glimpse of the man who was so much in love with her, she also starts to wonder if they could go back to how things were.