Theatre review: Macbeth (Shakespeare's Globe / Playing Shakespeare with Deutsche Bank)

A familiar annual feature at Shakespeare's Globe has been the Playing Shakespeare With Deutsche Bank production created specially for schools, which gives away thousands of free tickets to students. Its popularity has seen it become increasingly open to general audiences, and after a couple of past productions were made available online during lockdown, this year's has been given an additional few weeks' run after the school parties have seen it. The fact that the shows are heavily edited meant that for the first time ever I felt able to risk a standing ticket among the groundlings without too much fear of putting my back out, so after over a decade seeing most shows at the Globe I finally got to be right at the front of the action, where Rose Revitt's design has added a deep thrust into the yard. As these shows are tied to the school curriculum I don't remember it ever being anything other than Macbeth or Romeo & Juliet, and the fact that this thrust is a blasted heath is a clue as to whose turn it is.

Theatre review: A Christmas Carol (Bridge Theatre)

For what is almost certainly going to be my last live theatre visit of the year (I have two more booked but Tier 3 will put paid to them,) it's a story that always shows up a lot around this time of year, but this Christmas, with short lead times and the need for something straightforward and familiar, has been pretty much ubiquitous - or would be if the theatres weren't closing again the minute the shows opened. Maybe the two are connected, and the government's renewed vendetta against theatre is something to do with the popularity of a story that might as well be subtitled "All Tories Are Guaranteed Eternal Damnation," who knows? Out of many options the version of Charles Dickens' A Christmas Carol I chose was Nicholas Hytner's at the Bridge - it's one of the easier theatres for me to get to, but more importantly the cast includes a Future Dame in the form of Patsy Ferran, and a current one in Simon Russell Beale.