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Stephen HOPKINS (1580 – 1644) (wiki) was Alex’s 11th Great Grandfather; one of 2,048 in this generation of the Shaw line. Stephen was the only Mayflower passenger who had previously bee…
The hairstyles may be different and the roles, for some at least, more earnest. But look carefully and you might just notice a familiar face. So how many of these stars can you put a name to?
Stefanie Resnick as Trincula in the Utah Shakespeare Festival’s 2018 Shakespeare-in-the-Schools production of The Tempest. (Photo by Karl Hugh. Copyright Utah Shakespeare Festival 2018.)
There is an extra week in which to catch Daniel Radcliffe and Joshua McGuire on stage at the Old Vic
Harriet Walter is the linchpin in the Donmar’s momentous, all-female staging of Julius Caesar, Henry IV and The Tempest
Russell Brand has swapped the chilly streets of London for the sunshine beaches of Hawaii as he films a big screen adaptation of Shakespeare's The Tempest.
CEDAR CITY — The Utah Shakespeare Festival (USF) is an incredible place to be. The caliber of talent in every element of a production leaves me in a state ...
The Observer's theatre critic chooses the 10 sets that changed the face of modern theatre, from a 1912 Hamlet to Punchdrunk's immersive Faust
What does the Caribbean and William Shakespeare have in common? In many depictions of his famous plays, the characters are often depicted to be white and set in the many countries of Europe. The Cultural Theatre of Harlem, however, is taking Shakespeare’s “The Tempest” and infusing an Afro-Caribbean layer to create a universal story.
Nicholas Lyndhurst as Trinculo, Ralph Fiennes as Prospero and Elisabeth Hopper as Miranda attend the opening night of "The Tempest" held at Haymarket, Theatre Royal on September 6, 2011 in London,...
THE TEMPEST Blitzed Theatre Company at Brentwood Theatre 23.07.11 Big Brother eyes watching from a video screen, mask, mime and ambient music for Prospero's island – Neil Gray's Tempest teemed with ideas. Making some key characters women was only partly successful – the stranded nobles in their wedding finery strained credibility, and it was just silly to address each other as “Miss” – but I think Shakespeare would have appreciated the mannish Antonia and Sebastienne [Laura Hughes and Helen Castle]. It's only quite recently that we've felt the need to revere the Bard's text – 200 years ago the cuts and changes we heard at Brentwood would have seemed trivial. Though it seemed perverse to butcher two of the best speeches whilst preserving pages of dull dialogue. And “stranger bedfellows” and “the island is full of noises” just seemed careless. Among the inspired moments were the boat breaking, and the feast vanishing, before our eyes, the black nymphs, the death of the wonderful Sycorax puppet. I admired the stripped-back staging, and the “thousand twangling instruments” played by the actors. However, even if you are motionless and silent in the wings, your body language will still speak volumes. Darren Matthews was a gentle, beguiling Prospero; his faithful Ariel was impressively played by Emma Feeney, physically and vocally comfortable in this crucial role. Caliban was a suitably brutish Nicola Stacey. Not everyone managed the verse as successfully as Matthews and Feeney, but I did enjoy the comic duo of Will Fox's Trinculo [with glove puppet] and Matthew Jones's Stephano, who for some reason was allowed a period costume. The pacey two-hour production was rounded off with a lively jig, worthy of the great Globe itself …
