Though it’s a pleasure to observe a large sweep of Tudor mythology unfold across both plays, they vary wildly in quality...Richard III is a hit: Henry VI a missable curio.' (Henry VI. Richard III Double Bill).
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Sophie Russell’s psychotic Richard takes centre-stage for the second play in the Globe Ensemble’s thrilling new rep season.'
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Where Shakespeare meets Reservoir Dogs...the violence – its gleefulness and senselessness – is relayed with a perturbing, Tarantino-esque relish...'
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Life at the top is nasty, brutish and fast in this invigorating pair of plays...These liberty-taking, lacerating exercises in black comedy put Shakespeare’s history plays into the present tense.' (Henry VI/ Richard III Double Bill)
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Without a strong enough pull towards the personal or political, the production thrashes about. The teams switch shirts until they’re so muddied you can no longer tell – nor care – which side anyone’s on.'
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This production feels close to being excellent but unfortunately is a little confused. Praise is due for a modern and dynamic interpretation but the execution does not match up to the brilliance of Shakespeare's antagonist.'
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Some of the elements are jarring and not everything the production tries works. But its energy and verve are considerable, and the show makes a potent closer for the Globe’s history cycle.'
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