Stephan Wolfert rehearsing his one-man show, “Cry Havoc!”
SARA KRULWICH / THE NEW YORK TIMES
A closer look at how Shakespeare makes sense of war, to veterans and those who have lost friends in war.
A very positive review of a play that resonates in today's political environment. More.
A seasoned (and quite amusing) Pittsburgh theater critic, Ted Hoover, cannot abide Shakespeare and his works. Among his pithier quotes on Studio 360: “If you had a lick of intelligence in your head , this play [Romeo and Juliet] wouldn’t happen. It only happens if you’re stupid.” Possibly... More. Oh, and NPR's Ira Glass also dislikes the bard…
Michael Dorn (Worf in Star trek) is set to play Marc Antony.
A production photo of the Royal Shakespeare Company’s collaboration with Intel on “The Tempest.”
PHOTOGRAPH BY TOPHER MCGRILLIS / R.S.C.
Daniel Pollack-Pelzner reviews the RSC's production of the Tempest, and examines the limits of real-time computer effects blended with a live performance.
We can't say we fully (or even partially) understand this review of Taming of the Shrew by the Russian Kachalov Theatre, but in the spirit of acknowledging Shakespeare's global reach, we put it forward here. Opaque though the commentary may be, it certainly seems like a visually arresting production. More.
Tremendous article in the Financial Times detailing the possibilities and pitfalls in translating Shakespeare's works into Mandarin. More.
We here at The New Book Press can't resist the occasional Spoonerism. So, here 'tis! More.
Michael Crichton leaned heavily on Shakespeare's words when writing Westworld. What does it all mean? More.
Leonard DiCaprio and Claire Danes in Baz Luhrmann's Romeo + Juliet
The Guardian re-reviews Baz Luhrmann's Romeo + Juliet on its 20th anniversary. More.
A fascinating discussion about playing Hamlet from a 1963 BBC TV program (or programme, as you like it). It's a peculiarly chaotic interview, with everyone talking over each other, Wheldon (the host), not controlling the discussion at all, and some fairly poor camera work. However, it's worth listening to what Welles, O'Toole, and Milton are saying. They're thoughtful, humorous, and in their own separate ways, deeply in tune with Shakespeare's masterpiece.
The Globe, which opened in 1997, is a reconstruction of a Shakespearean theatre.
Emma Rice, the Shakespeare Globe's artistic director, will step down at the end of the 2017 season, after clashing with management over the use of sound equipment and lighting rigs. At the heart of the disagreement is whether the Globe should focus on traditional productions that mimic the constraints of Elizabethan theatre tech, or incorporate current theatrical methods (the "shared light" issue in theatre shorthand). For now, the traditionalists have won. More.