Theatre review: Don Quixote

The RSC are of course marking the 400th anniversary year of Shakespeare's death on the 23rd of April 1616*, but they're also acknowledging that Miguel de Cervantes died on the same date¥, with his epic comic novel Don Quixote getting a new stage adaptation by James Fenton. Angus Jackson directs David Threlfall as the titular impoverished lord who's spent his life in his library, absorbed in tales of Mediaeval knights-errant. As he gets old and senile he starts to believe himself one of them, and sets off on a mission to have adventures and bring the age of chivalry back to Spain. He promises the local layabout Sancho Panza (Rufus Hound) an island of his own to rule if he'll be his loyal squire.

Theatre review: Tiger Country

There's something of a mini-trend at the moment, of productions from about four years ago returning. At Hampstead there's Nina Raine's Tiger Country, which she once again directs on a wide traverse stage designed by Lizzie Clachan. A hospital drama with more than a little touch of the soap opera about it, it does in fact rise above what look like fairly generic beginnings. Young doctor Emily (Ruth Everett) transfers from Brighton to the Casualty department of a London hospital where her boyfriend James (Luke Thompson) also works - although he doesn't seem too keen on everyone knowing they have more than a working relationship. Emily is still heavily emotionally invested in her patients, in apparent contrast to Vashti (Indira Varma,) a surgeon whose colleagues joke has buried all trace of a personal life to help her progress in her job. But when her aunt (Souad Faress) is admitted to the hospital, Vashti finds it harder to maintain her stiff upper lip.

Theatre review: King Lear (Shakespeare's Globe & tour)

King Lear divides his kingdom between the two of his daughters who flatter him the most, banishing the third for her refusal to play the courtly game. But words turn out to mean little when all your power's gone, and when Goneril and Regan refuse him the honours he still expects, Lear is cast out to the elements. Storms, war and madness bring the former king down to man at his most basic level, and in the process he learns what it means to be human. Following Hamlet and As You Like It in past years, King Lear is the latest play to get the patented Shakespeare's Globe stripped-down treatment, in a touring production that this week pitches up on home ground. Eight actors plus two musicians, 1940s costumes and a lot of doubling are used to tell one of Shakespeare's best-known stories.