In my last post I said I would preview some of the exciting shows due to take place in 2015. Here, then, are a couple of things to look out for in the next few months.
JANUARY: This month I’ll be seeing Middleton and Rowley’s The Changeling at the Globe’s Sam Wanamaker Playhouse. I wasn’t altogether convinced by the Globe’s recent ‘Tis Pity She’s a Whore but I’m looking forward to seeing what they do, not least because I’ll be teaching it later in the term. Elsewhere, look out for Rupert Goold’s reprisal of his Las Vegas-set The Merchant of Venice at the Almeida. I wasn’t really sold on the show when it was produced by the RSC in 2011, but would be interested to see it again. I’d also be curious to see Frantic Assembly’s Othello, now playing at the Lyric Hammersmith.
FEBRUARY: Now that I’m based in Swansea, I’m trying to keep a closer eye on Welsh productions of Renaissance drama. Two important Welsh productions open in February. First, Terry Hands directs Hamlet at Clwyd Theatr Cymru in a production which will then tour. Later in the month, Wales Millenium Centre in Cardiff present an all-female production of Richard III directed by Yvonne Murphy. Back in my old home of Stratford, I’ll also look forward to seeing Dekker’s The Shoemaker’s Holiday at the RSC’s Swan Theatre, before it closes on 7 March.
MARCH: In March Tara Arts will bring Indian movement and music to their touring production of Macbeth which will visit Swansea’s Taliesin Arts Centre. In London, Lazarus Theatre Company will perform Middleton’s The Revenger’s Tragedy at the Jack Studio Theatre in Brockley. I was sad to miss their acclaimed production of The Spanish Tragedy in 2013, so will catch it if I can. I’m also looking forward to seeing the continued exploration of John Ford’s drama. Ford’s The Broken Heart will open at the Sam Wanamaker in March and, in the same month, Edward’s Boys, – whose Galatea was one of the year’s highlights – will perform The Lady’s Trial in collaboration with Globe Education. It’s very interesting to see Edward’s Boys moving out of the Elizabethan/Jacobean repertory to explore a play by Beeston’s Boys. Finally, sometime in the month, the brilliant The Maid’s Tragedy by Beaumont and Fletcher will be performed in Canterbury as part of The Beaumont and Fletcher Project. Details are forthcoming.
APRIL: I’m really looking forward to seeing Cheek by Jowl’s Russian language Measure for Measure, which will come to the Barbican in mid-April. I saw Cheek by Jowl’s Russian Tempest in 2011 and it was among the most astonishing things I’ve ever seen. I also really ought to see Northern Broadsides’ King Lear, which opens in late February, but tours until June and visits my hometown of Liverpool in April. Rather shamefully, for a notherner, I’ve never seen a Northern Broadsides production; it might be a good idea to rectify that error. I’ll also see Marlowe’s Dido, Queen of Carthage, by the Globe Young Players at the Sam Wanamaker. I enjoyed their Malcontent, so look forward to seeing what they do with Dido.
I’m not sure I’ll get to see all of these and even less sure I’ll write about them, but I’ll see and write about, as much as I can. This isn’t an exhaustive list, of course and do, please, tell me what I’ve missed.