84. Macbeth - RST

This is one of those productions that completely blew me away and I’m not sure if I’ve completely sorted out my thoughts and feelings about it yet (though that might partly be down to cramming so much theatre in to such a short time frame). It’s an incredibly clever production. Whilst Michael Boyd may not be as impressively flashy as Rupert Goold or as able to completely re-envision a play; I find his depth of understanding no less imaginative or magical and with Macbeth he has combined his cleverness and inventiveness with a strong emotional core and an intensity that left me shaken and shaking by the end. In fact my main problem with writing this review has been working out how to elaborate the wealth of interconnecting concepts and where to begin.

83. Much Ado About Nothing - The Globe

I hesitated about writing this up as we were treated to a rather unusual performance with Eve Best indisposed, but given that I’ve already wimped out with one “doctor’s note” for The Globe this year and that I thoroughly enjoyed every moment of this – I thought I would go ahead (though given that everyone I know adored Eve Best, I might post an update when I finally get to see her). Anyhow, before the show started Dominic Dromgoole took the stage and explained that The Globe is unable to afford a full understudy programme but that in the best showbiz tradition the show would go on with Lucy McGrillis stepping up from Margaret to play Beatrice, script in hand, and with Charlotte Bevan, Head of Casting, taking her place.

(63). All's Well That Ends Well - The Globe

I wimped out of reviewing this the first time I saw it though mostly, I hope, for good reasons.At any rate I’m glad I waited – it would have truly been unfair of me, crammed onto uncomfortable seats and missing half the action and as much of the dialogue to have made any judgements on the production. Now, having been crammed at the front of the stage instead I feel much more qualified. Though I’m a little sad that my overriding feeling is still that whilst this is a marvellous production, it can’t quite overcome the fact that this is called a problem play for a reason and in some ways is very difficult to enjoy.

78. Henry VI part I - Rose Bankside

In many ways I find the histories, as they currently stand for me personally, a difficulty. I haven’t seen them all; I’m still missing Henry V and Henry IVs part 2 and 3. I don’t even know what happens in some of them and I certainly don’t understand their nuances or the way they affect each other, the way they bleed into and inform their various parts. So I always feel, except with superb productions like the Tobacco Factory’s Richard II or the Globes Henry IVs, like I’m slightly adrift in judging them. That I just don’t know enough to “get them”. That was definitely the case with Henry VI part 1 where I felt for long stretches like I was floundering, unsurprising I suppose as I neither know the plays that precede it or the plays that follow it.

71. As You Like It - The Globe

I feel I should warn you up front, whoever you may be, that this is going to be long. It could in fact be much longer as this production truly blew me away, I could take pages listing all the things I loved about it – but I’m not going to because that would be quite spoilery. In some ways that’s been one of the hardest things about trying to write this entry, finding a way to go into the details of why this worked so well without spoiling it for people who haven’t seen it yet (I’ve done my best, but this isn’t perfect). Because really you must go and see this. Trust me.

66. Pocket Dream - Udderbelly

Poor Pocket Dream – I can’t envy any production that had to live up to the last Midsummer Night’s Dream that I saw, the 2008 RSC revival/production – which is still beating vividly in my mind as one of the best Shakespeare’s I’ve seen. On top of which the small cast had to deal with a poor audience turn out and the constant danger of being drowned out by the gathered merrymakers in the Udderbelly Garden outside. In the end, the production couldn’t match the magic, wonder and laughter of the RSC production but still had a lot of heart and I enjoyed it thoroughly anyhow.

63. All's Well That Ends Well - The Globe - DOCTORS NOTE

Just a quick note, to explain that whilst I really loved All’s Well That Ends Well – a combination of being seated at the Globe (so, so wrong) and being surrounded by a noisy audience who made me miss large chunks of the text – has made me decide to hold off on my review... for now. This is one I definitely will be seeing again later in the summer, so once I’ve had a chance to ruminate and gotten the complete Globe experience, I’ll write a proper entry.

61. Hamlet - The Globe

God bless The Globes Hamlet, it was up against a tough challenge coming only two days after seeing Hamlet 1603, which you may have noticed I adored. In the end I think that coloured my enjoyment here, it couldn’t quite match up, which is a shame really as this is a great little touring production of the play.

60. Hamlet 1603 - White Bear Theatre

Ah, my first Hamlet since deciding to attempt the Grand Hamlet-Off of 2011 and given that this was a chance to see the rarely performed Bad Quarto of 1603 (hence the title) - one I was very excited for. And I was far from disappointed, in fact I’m looking forward to heading back to see this when I’m a little less exhausted in May. In short, I adored it and I fear large parts of this entry will just be me listing all the things I loved most.

58. Macbeth - Belt Up at Clerkenwell House of Detention

Macbeth was one of the Shakespeare’s I studied at school and I vividly remember (being the only one in the class who apparently could speak verse) reading both Macbeth and Lady Macbeth’s parts out loud. It’s made this one of those plays that I’m irrationally fond of, but so far I’ve somehow managed to only see the play once before, with Song of the Goats slightly unusual lyrical approach last year, a situation I was keen to remedy. Belt Up have also been on my list of troupes to catch for a while after hearing interesting things. So hearing that Macbeth and Belt Up were combining themselves with the creepy Clerkenwell House of Detention not far from where I worked, I couldn’t resist.

49. The Tempest - Cheek By Jowl at the Barbican

This was another excellent word of mouth purchase, particularly pleasing because The Tempest is quite possibly my favourite Shakespeare – it’s certainly the play I’ve seen the most excellent productions of, even the less lustrous ones have been good. Right back to my very first, though it’s long enough ago to be only the vaguest memory, was memorable for having taken place outside in an actual storm. So perhaps I shouldn’t be surprised to be treated to two superb (if very different) ones within a month of each other – still it’s definitely a thing of joy.

King Lear / Romeo and Juliet - RST (The Final Shows)

This is an even more not-quite-review than normal as I’ve already discussed King Lear and Romeo and Juliet before, at length (ridiculous, ridiculous length). But I can’t not write something about these last two shows, as they feel slightly momentous to me in an oddly difficult to define way. I suppose it’s just that these productions have been a major part of my life over the last year and it’s still slightly hard to comprehend that I won’t be seeing them again. Plus even with the three Hampstead plays to go, this felt a little like we were saying goodbye to the ensemble (none of this is rational of course – but emotions generally aren’t).

45. YPS Comedy of Errors - RST

We possibly couldn’t have chosen a more dramatic shift in mood than going from The Rape of Lucrece to the YPS Comedy of Errors – thankfully a night of mild drinking, a legendary Adelphi breakfast and the fact that this production is something of an old friend (I first saw it in 2009) – eased us between the two. So by the next morning we were ready for the crazed, slightly psychotically gleeful, utterly energetically mad hour we were set to enjoy. And I have to say I still utterly love it.

The Grand Hamlet-Off 2011

Sometimes an idea just pops into your head – a ridiculous, dangerous idea. Sometimes it’s more like it’s been forced into your head just by looking at your theatre schedule. Sometimes twitter suggested it. This is one of those times.