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Top marks for the gifted schoolgirl
Director Gregory Doran presents Thomas Malory's prose romance in a lucid, revelatory stage production. In a playing time of just three-and-a-half hours, we have the stories of the sword in the stone, the vision of Excalibur in the misty lake, the defeat of King Lot, the love triangle of Arthur, Guenever and Launcelot, the fellowship of the Round Table, the search for the Holy Grail, the jousts at Winchester, the usurpation of Mordred and the final battle.
It's Macbeth that is supposed to be jinxed. But lately you could be forgiven for thinking that it's Mark Antony that has become the liability, luck-wise.
A superb revival of Bulgakov's Russian civil war play starts as domestic comedy and ends in panic, chaos and betrayal
The RSC is temporarily known as the Royal Soviet Company, with two brand new Russian plays, specially commissioned, playing in the Courtyard for just over a month to launch a four-year project called "Other Russia".
Like Hermia in The Dream, I am amazed and know not what to say: the seething mob takes a bow at the end of the new RSC Julius Caesar – but they are on film. The video empire strikes back, assuming a reality of relationship with a theatre audience that cannot possibly exist. Or can it?
The Royal Shakespeare Company's new Rosalind, Katy Stephens, points out in the programme that her job is "not to be great" but to tell a love story, "together with everyone involved". To some extent, she succeeds. But an audience's job in this play is to fall in love with Rosalind, and I'm not sure that we do.
Theatre company accused of showing contempt for the traditional dance in its production of ‘The Taming of the Shrew’