The week in theatre: Much Ado About Nothing; Kiss Me, Kate – review
Book of the day
Straight Acting by Will Tosh review – out on stage
The Taming of the Shrew review – full of foolishness, low on laughs
William Russell obituary
May 2024
The week in theatre: Romeo & Juliet; Richard III; Passing Strange review – no fault in these stars
Richard III review – a fast-paced study of toxic masculinity with an almost entirely female cast
‘The level of hate was dangerous’: Michelle Terry on the backlash to her casting as Richard III
Much Ado About Nothing review – frothy fun to please the purists
April 2024
‘Expect more from me’: actor Francesca Mills on Shakespeare and shifting expectations
‘Don’t come if you are worried’: former RSC boss says he hates trigger warnings for plays
March 2024
‘We’re barely hanging on’: England’s cultural jewels fall into the red
New arts lobby group says plight that hits even top bodies such as Royal Shakespeare Company makes entire country poorer
Romeo and Juliet review – a fiery-footed, stunt-riding thriller
Freestyling cyclists serve around the cast in Lucy Cuthbertson’s shrewd production aimed at younger audiences
Brief letters
A world of superb theatre at Shakespeare’s Globe for just £5
Murderer, manipulator… or not that bad at all? The reframing of Richard III
The Duchess of Malfi review – revenge tragedy goes hard on the humour
February 2024
Acting, disability and the problem with ‘lived experience’
The week in theatre: Till the Stars Come Down; Othello; Plaza Suite – review
January 2024
Non-disabled Richard III actor to press on despite calls for recast
Michelle Terry, who is also the Globe’s artistic director, says she will not alter her physicality for role
Othello review – Shakespeare’s tragedy interrogated in New Scotland Yard
Ola Ince’s production is set within a hostile modern police force and has DCI Othello’s unconscious portrayed by a second actor
‘I’m done with pretenders’: disabled actors on reclaiming Richard III
As the Globe faces accusations of ‘cripping up’ with a new production of Shakespeare’s tragedy, disabled theatre-makers explain why the role should not be open to all