No playwright is more respected in Germany than Shakespeare. Some productions just have a strange way of showing it.
There is much to enjoy in a production of “Antony and Cleopatra” and a season of Pinter’s one-act plays in London, our critic says.
The Bedlam show, stitched together from parts borrowed from Chekhov and Shakespeare, should perhaps be credited to Chekspeare.
The actor left the stage soon after playing Lear in 1986. Now 80, he is giving it another go, in a made-for-television film directed by Richard Eyre.
Yes, household objects stand in for famous characters. But in the hands of master storytellers, these condensed versions can cast a spell.
The National Asian American Theater Company puts on a fast-paced and unusually lucid staging of the bloody history play.
“Emilia,” at Shakespeare’s Globe, features three black actresses in the role of the “Dark Lady” who inspired some of the Bard’s sonnets.
With “The Tempest,” “An Ideal Husband” and “To Kill a Mockingbird,” the Stratford Festival carries on a conversation about purity and forgiveness.
This radiant Public Works production of Shakespeare’s comedy of identity asks us “to see through the eyes of another.”