Theatre review: The Trojan Women

After a successful first season of "Revolt," Christopher Haydon at the Gate looks at "Aftermath," and first in the new season is Euripides' classic of those left behind when the fighting ends, The Trojan Women. Poet and playwright Caroline Bird has come up with a loose translation of the play that brings the language and action bang up to date. The war has just ended, and the Trojan men have been killed. The women are waiting in a hospital to find out which Greek general will claim each of them as his slave or concubine. Their babies are being taken from them - allegedly to be raised as Greeks, but it looks likely the reality is grimmer. Lucy Ellinson's Chorus is heavily pregnant, not far from giving birth. The only other occupant of the maternity ward is Troy's former Queen, Hecuba (Dearbhla Molloy,) put in the relatively quiet ward as the one remaining mark of respect afforded to her.

Theatre review: Richard III (Shakespeare's Globe & Apollo Shaftesbury Avenue)

With the usual Indian summer refusing to turn up this year, I'm quite glad that tonight's rainy, freezing cold night at the Globe was my last outdoor theatre trip until next spring. I booked Richard III pretty late into its Globe run (although it too will be wintering at the Apollo) so as to leave a decent gap after the earlier Dick 3s at the Roundhouse and in Stratford. Paired with the revival of his Twelfth Night, Tim Carroll directs much of the same cast in a new production of Richard III, although this too uses the Original Practices techniques that I've expressed reservations about before. Mark Rylance plays the hunchbacked, withered-armed Richard Duke of Gloucester, brother to King Edward V and a few places down the line of succession to the throne. But the three people ahead of him are no obstacle if he kills them all, and once he becomes King Richard, his murderous insanity shows no sign of letting up.

Theatre review: Twelfth Night (Shakespeare's Globe & Apollo Shaftesbury Avenue)

Not a PREVIEW DISCLAIMER as such, apparently newspaper critics are not being invited to review this production until after its West End transfer, so the whole Globe run is either fair game, or we're to infer that it consists entirely of previews. In any case, one of the papers has already broken that embargo.

Mark Rylance was the original Artistic Director of Shakespeare's Globe (ironically enough, since he presumably considers the venue's name to be inaccurate) and, for reasons I won't go into unless anyone is especially interested, an interview of his where he discussed his plans for the venue rather put me off the place, hence my never having visited it until four years ago. Having now seen plenty of enjoyable shows at the Globe though, I didn't feel the need to stay away from the return of Rylance and his Original Practices team, his first since 2006. As well as a new production of Richard III (which I've booked at the very end of its run to leave a decent gap after seeing the RSC's version) director Tim Carroll also brings back perhaps the most famous production of Rylance's tenure, with him as Olivia in Twelfth Night. Unbeknownst to each other, a pair of twins wash up on the Illyrian coast after a shipwreck, where they get confused for each other by the households of the Duke Orsino, and the object of his romantic affections, the grieving lady Olivia.