The hierarchy between Othello (Peace Oseyenum) and the sneaky network of unfaithfuls beneath him/her (although the actors are female, the characters are still their original gender) is set up around the stairs, at the outset of the play, which wouldn’t be possible in a usual theatre. So, from the first moment, we feel the long, dark tunnel stretching out above and beneath us. This is a place of no escape, and as Othello descends the stairs, you get the feeling ...

Shakespeare’s tale of deceit and malice is not an easy one to stage. Even with an interesting re-contextualisation set in the British Raj in 1919, the production at the Union Theatre fails to fully own this mammoth play.  The ‘green-eyed monster’ and the quintessential Machiavellian baddie Iago provide enough juice, drama, and betrayal to make a real meal out of. But to enjoy a meal one needs cutlery (bear with me on this metaphor), and that would be the actors. ...

A fresh, energetic and funny adaptation of a well known Shakespeare favourite. Lives up to the claim of being an accessible introduction, if by chance you haven’t seen it before.

The funniest thing in London right now. One of those have-to-be-there experiences, so I urge you: go be there.

This is a truly unique piece of theatre, which incorporates modern dance and song to tell the moving story of young William Shakespeare’s life.

Well performed and beautifully designed, but it was style over substance with no new insights into this familiar play.

This all-female cast shine as they navigate storms and troubled waters, with some outstanding individual performances on board.

Performers expertly blend dance and text together to tell a complex, fresh, yet universal story in this inventive piece of comedic dance-theatre.

A compelling tale of power and ambition that is more relevant than ever, easily finding modern parallels in an age driven by social media - an absolute treat!

An admirably ambitious experiment in reimagining Shakespeare that mostly misses the mark.