From the monthly archives: July 2012
This post is a long excerpt from an essay of mine published a few months ago, “‘But, what euer you do, Buy’: Richard II as Popular Commodity” (in Jeremy Lopez, ed., Richard II: New Critical Essays, London and New York: Routledge, 2012, 223-44). You’ll find the concluding sections and full citations in the […]
- Click to email a link to a friend (Opens in new window)
- Click to print (Opens in new window)
- Click to share on Facebook (Opens in new window)
- Click to share on Twitter (Opens in new window)
- Click to share on Tumblr (Opens in new window)
- Click to share on LinkedIn (Opens in new window)
- Click to share on Reddit (Opens in new window)
- Click to share on Pinterest (Opens in new window)
Two days ago, the actor and director David Ferry posted a letter on Facebook and the Praxis Theatre website excoriating the city’s young — 35 and under — theatre practitioners for their alleged silence in response to the firing of Ken Gass, the influential long-time Artistic Director of the Factory Theatre. This letter […]
- Click to email a link to a friend (Opens in new window)
- Click to print (Opens in new window)
- Click to share on Facebook (Opens in new window)
- Click to share on Twitter (Opens in new window)
- Click to share on Tumblr (Opens in new window)
- Click to share on LinkedIn (Opens in new window)
- Click to share on Reddit (Opens in new window)
- Click to share on Pinterest (Opens in new window)
I saw and loved Of Mice and Morro and Jasp on Friday, but I wasn’t planning to write about it. I don’t really feel qualified to discuss clown shows — I have a lot of affection for the genre, but I don’t know enough about it to be more than a naive spectator. Take one […]
- Click to email a link to a friend (Opens in new window)
- Click to print (Opens in new window)
- Click to share on Facebook (Opens in new window)
- Click to share on Twitter (Opens in new window)
- Click to share on Tumblr (Opens in new window)
- Click to share on LinkedIn (Opens in new window)
- Click to share on Reddit (Opens in new window)
- Click to share on Pinterest (Opens in new window)
Bad news first: Debbie Tucker Green’s play is not perfectly formed. The script’s first half, an extraordinarily poetic exploration of domestic abuse and its impact on those around the victim and the abuser, weaves together three essentially disconnected characters’ monologues, characters here separated from each other by lines of red sand that occasionally are crossed, […]
- Click to email a link to a friend (Opens in new window)
- Click to print (Opens in new window)
- Click to share on Facebook (Opens in new window)
- Click to share on Twitter (Opens in new window)
- Click to share on Tumblr (Opens in new window)
- Click to share on LinkedIn (Opens in new window)
- Click to share on Reddit (Opens in new window)
- Click to share on Pinterest (Opens in new window)
Oh, this is difficult. I wanted to like this show. I’m constantly complaining about the lack of interesting takes on classical drama, and this production seemed to offer just such a thing, promising to bring Sophocles’s Antigone into the 21st century via the Toronto G20 clashes. Combining a contemporary perspective and an ancient text is […]
- Click to email a link to a friend (Opens in new window)
- Click to print (Opens in new window)
- Click to share on Facebook (Opens in new window)
- Click to share on Twitter (Opens in new window)
- Click to share on Tumblr (Opens in new window)
- Click to share on LinkedIn (Opens in new window)
- Click to share on Reddit (Opens in new window)
- Click to share on Pinterest (Opens in new window)
First blog post ever written on my phone — such is Fringe life!
Taming of the Shrew, a play I loathe more than any other of Shakespeare’s works, is being staged at the Victory Cafe by Shakespeare BASH’d and directed by Eric Double, who also frames the show in the part of Christopher Sly. It’s […]
- Click to email a link to a friend (Opens in new window)
- Click to print (Opens in new window)
- Click to share on Facebook (Opens in new window)
- Click to share on Twitter (Opens in new window)
- Click to share on Tumblr (Opens in new window)
- Click to share on LinkedIn (Opens in new window)
- Click to share on Reddit (Opens in new window)
- Click to share on Pinterest (Opens in new window)
The silly season is upon us.
Shakespeare is one of the key focal points of the celebrations surrounding the Olympic Summer Games in London, with a major exhibition at the British Museum (see my thoughts on that here), an international theatre festival stretching through most of the year, and a series of related […]
- Click to email a link to a friend (Opens in new window)
- Click to print (Opens in new window)
- Click to share on Facebook (Opens in new window)
- Click to share on Twitter (Opens in new window)
- Click to share on Tumblr (Opens in new window)
- Click to share on LinkedIn (Opens in new window)
- Click to share on Reddit (Opens in new window)
- Click to share on Pinterest (Opens in new window)
I’ll be seeing a lot of plays at the Fringe this year, so I’ve decided to blog about at least some of them — mostly for my own benefit, to sort out my reactions more or less immediately, and to keep a record of what I saw and what I thought. These won’t […]
- Click to email a link to a friend (Opens in new window)
- Click to print (Opens in new window)
- Click to share on Facebook (Opens in new window)
- Click to share on Twitter (Opens in new window)
- Click to share on Tumblr (Opens in new window)
- Click to share on LinkedIn (Opens in new window)
- Click to share on Reddit (Opens in new window)
- Click to share on Pinterest (Opens in new window)
Recent Comments
- Premodern Performance-based Research: A Partial Bibliography – Alabama Shakespeare Project on My Trouble with Practice-as-Research
- Premodern Performance-based Research: A Partial Bibliography – Alabama Shakespeare Project on Where is the Theatre in Original Practice?
- Alex on Steven Moffat, Sherlock, and Neo-Victorian Sexism
- Tim Keenan on Where is the Theatre in Original Practice?
- Holger Syme on 1920s Berlin Theatre: Research Marginalia 1
Archives
- November 2021
- April 2020
- March 2020
- October 2019
- January 2019
- December 2018
- November 2018
- October 2018
- March 2018
- February 2018
- January 2018
- July 2017
- May 2017
- March 2017
- November 2016
- October 2016
- September 2016
- August 2016
- June 2016
- May 2016
- January 2016
- December 2015
- November 2015
- October 2015
- September 2015
- August 2015
- July 2015
- June 2015
- May 2015
- February 2015
- January 2015
- November 2014
- October 2014
- September 2014
- August 2014
- July 2014
- May 2014
- April 2014
- March 2014
- February 2014
- January 2014
- November 2013
- October 2013
- September 2013
- August 2013
- July 2013
- May 2013
- April 2013
- March 2013
- January 2013
- December 2012
- November 2012
- October 2012
- September 2012
- August 2012
- July 2012
- April 2012
- March 2012
- February 2012
- January 2012
- December 2011
- November 2011
- October 2011
- September 2011
- August 2011
- July 2011
- June 2011
- May 2011
Copyright
Holger Syme's work is licensed under a Creative Commons Attribution-NonCommercial 3.0 Unported License.Images may be reused as long as their source is properly attributed in accordance with the Creative Commons License detailed above. Many of the photos here were taken at the Folger Shakespeare Library; please consult their policy on digital images as well.
