Stage-to-screen review: Hamlet (Bristol Old Vic / BBC)

It's been a couple of years since I last saw a full production of Hamlet, and with a while yet before the next major one is due (now watch as another gets announced the second after I click Publish,) it seemed as good a time as any to check out the version the BBC offered up recently as part of their First Folio season. This was John Haidar's 2022 production at the Bristol Old Vic, one that had caught my eye for casting real-life husband and wife Finbar Lynch and Niamh Cusack as the king and queen of Denmark. Haidar didn't cast Calam Lynch in the lead to complete the family set, but instead Billy Howle plays Hamlet, the prince of Denmark who's moping quietly at the start of the play after his father's sudden death. Alex Eales' set is slickly black and I want to call Natalie Pryce's costumes modern-dress, except the characters' tech is very Nineties: Hamlet loves soliloquising into his dictaphone, and "The Mousetrap" is interrupted when Polonius' pager goes off.

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

Continuing to suggest Michelle Terry's vision for Shakespeare's Globe is as the most joyously queer theatre in That London, and tying that into the gender-bending embedded in many of Shakespeare's plays, the 2023 summer season closes as it opened, with a production largely cast with LGBTQ+ performers in roles that don't necessarily match their pronouns. Ellen McDougall's As You Like It goes one step further by making its queerness an integral part of how it divides the play's two very different worlds. We begin in the monochrome court of Duke Frederick (Dale Rapley,) who usurped his position from his own brother, whom he banished to the forest. But he allowed his niece Rosalind (Nina Bowers) to remain, as she was so close to his daughter Celia (Macy-Jacob Seelochan.) But a wrestling competition reminds him that his brother's former allies are still around.

Theatre review: Modest

Once again one of the highlights of going to the theatre as often as I do is finding out about people and events you'd think would be better known than they actually are, but have been largely forgotten - either because of an accident of history or, as is often the case and including Ellen Brammar's Modest, because of institutional inequalities. Here the central character is Elizabeth Thompson, a painter who narrowly missed out on becoming the first woman to be elected to the Royal Academy. What makes her such a particular outlier is that it would take another 42 years before the first woman (Annie Swynnerton, because I can Google stuff,) would actually join the institution. Paul Smith and Luke Skilbeck's production explores the gender conflicts in the story by putting Elizabeth (Emer Dineen) at the heart of an empowering drag show.