Theatre review: The Rivals

Tom Littler's theme for Christmas shows at the Orange Tree seems to be Jazz Age relocations for classic comedies, and this year he goes back to Restoration Comedy to move Richard Brinsley Sheridan's The Rivals from 1775 to 1927. Lydia Languish (Zoe Brough) is a fan of torrid romantic novels and wouldn't consider a romance of her own that wasn't suitably anguished, so her aristocratic suitor Captain Jack Absolute (Kit Young) is wooing her in disguise as a lowly sergeant: He knows she would never be interested in him if he had her family's approval. In fact Jack's father Sir Anthony (Robert Bathurst) has been busy arranging a marriage between his son and Lydia, so when the latter finds out she determines to reject Jack Absolute in favour of the fictional Beverley, and Jack finds himself his own biggest rival.

Theatre review: Romeo and Juliet(Shakespeare's Globe)

After Hamlet on the Titanic and Much Ado About WAGs, this spring's trio of super-high concept Shakespeare productions concludes with Romeo and Juliet: The Western. Although out of these three, Sean Holmes' production at the Globe is the one that engages the least with its high concept, right from the start when it becomes apparent that the cast will be using their own accents instead of going all-in to match the Wild West imagery. Paul Wills' design does fill the stage with cowboys and cowgirls, against a backdrop of swinging saloon doors - though apart from one ominous splash of blood it does all look rather new and clean in the town of Verona, where two families' feud has been a headache for the Sheriff (Dharmesh Patel) for many years. He finally concedes that he can't stop them attacking each other in private, but doing so in public will be on pain of death.

Theatre review: An Interrogation

Cameron (Jamie Ballard) is the founder and CEO of a successful consultancy firm with government contacts; he's got a ruthless reputation tempered with charity work, and he spends most weekends looking after his aging mother. But police officer Ruth (Rosie Sheehy) is pretty convinced his mild image is distracting from more than just the large swathes of redundancies his company has been responsible for: She also believes that he kidnapped and murdered one of his employees a few months back. Now another young woman is missing, and if it's the work of the same person she might have been kept alive for up to 72 hours. The Reading police are under pressure to find the second victim while she's still alive, and with hours to go Ruth has been given the chance to try out her hunch: With her boss watching from a nearby room, she'll interview Cameron alone.

Theatre review: Much Ado About Nothing (Shakespeare's Globe)

Apparently Shakespeare's Globe is out of the worst of its post-lockdown budget hole, which hopefully means Michelle Terry (who let's not forget chucked The Two Noble Kinsmen into her inaugural season) won't be quite as obliged to programme just the hits, which has essentially seen the venue having to reboot A Midsummer Night's Dream and Much Ado About Nothing in alternate years. But for the time being it's an even-numbered year so I guess it's the latter they have to find a new take on, even as Lucy Bailey's production still feels fresh in my memory. At least Much Ado is a play the Globe rarely seems to fudge, and Sean Holmes' take on it is no exception. Grace Smart's design seems to take inspiration from the text's laboured pun on Seville oranges to set the action in an orange grove, and the cast seem to be liberally handing out fruit to the groundlings in a production that makes particularly good use of the shared space with the audience.

Theatre review: The Winter's Tale(Sam Wanamaker Playhouse & Shakespeare's Globe)

Leontes (Sergo Vares) is the king of Sicilia, whose life of privilege, happy marriage and lifelong friendship with Bohemian king Polixenes (John Lightbody) all come crashing down when he has a sudden burst of insanity. For no reason he becomes convinced his wife Hermione (Bea Segura) is having an affair with Polixenes, and that the baby she's carrying is his. His violent outbursts lead, directly or indirectly, to the death of his young son and only heir, the apparent death of Hermione, and a number of trusted servants and aides fleeing Sicilia in fear of their lives. In particular Antigonus (Colm Gormley) ends up in Bohemia with the newborn daughter Leontes has declared a bastard, and it's this fourth-act change of scenery that has inspired Sean Holmes to make The Winter's Tale the first production to take place in both of Shakespeare's Globe's theatres: Taking the entire audience from the indoor Swanamaker to the outdoor Globe and back again.

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: The Taming of the Shrew (Shakespeare's Globe & tour)

PREVIEW DISCLAIMER: The production is previewing at the Globe prior to a tour.

After a pretty safe opener in Twelfth Night, the second of Brendan O’Hea’s Globe productions vying for votes on the tour is The Taming of the Shrew. It’s a play that seems ripe for exploration in a year when #MeToo is a major theme in theatre, but it’s also one that, precisely because of the modern context, needs a lot of work and a high concept to find its place on a 21st century stage. Can an eight-strong company who are also rehearsing two other plays at the same time bring that level of nuance? No. Lucentio (Luke Brady) arrives in Padua and instantly falls in love with Bianca (Sarah Finigan,) daughter of the wealthy Baptista (Cynthia Emeagi.) Baptista knows his youngest daughter has many suitors, and has used this to deal with a problem: His eldest, Katherina (Rhianna McGreevy) is so bad-tempered she’s widely considered to be cursed. Baptista has decreed that he’ll only give his blessing for Bianca to marry when a husband has also been found for Katherina.

Theatre review: Twelfth Night (Shakespeare's Globe & tour)

PREVIEW DISCLAIMER: The production is previewing at the Globe prior to a tour.

After a turbulent couple of years for the venue, Michelle Terry has now officially taken over as Artistic Director of Shakespeare's Globe, and next week I'll be making my first trip to her summer season proper. But first, as well as any innovations of her own she might have planned, there were a couple of Globe favourites that had fallen by the wayside during the Emma Rice years that I'd hoped to see return; I'm still keeping my fingers crossed that Globe To Globe will be back in future years but in the meantime the "tiny" touring shows - small casts of actor-musicians frantically doubling all the roles in some of Shakespeare's best-known plays - are back, but with a twist that's Terry's own: Brendan O'Hea directs a cast of eight in three plays; once the company hits the road they won't know which play they're going to perform until the last minute, leaving it to an audience vote to decide the night's entertainment.