CLAMOROUS VOICE

stage, spires, and Shakespeare

I am very over-excited to have my first Literary Review byline this month, reviewing two brilliant books: Emma Smith’s This Is Shakespeare (calmly revolutionary take on 20 of the plays) and Andrew McConnell Stott’s What Blest Genius? The Jubilee That Made Shakespeare (Blackadder Goes Stratford; blissful). You can read my review here, or – even …

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Appropriately for a play that begins with a shipwreck, Simon Godwin’s Twelfth Night at the National Theatre left me with a lingering sinking feeling.

It’s increasingly clear that, for the new generation of Shakespearean actresses, the world of girls is not enough. Whether it’s Jade Anouka’s Hotspur at the Donmar, Pippa Nixon’s Bastard at the RSC, or Maxine Peake’s electrifying Hamlet at the Royal Exchange, women are building their careers by reinventing Shakespeare’s heroes. This is also the case …

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Baz Luhrmann has taken the aesthetic he used for Moulin Rouge, the least French film ever made about Paris, and transplanted it to 1920s New York. The CGI is worse than a Doctor Who werewolf, but the costumes are stunning and I’ve spent much of today fashion-googling ‘great gatsby clothes’ with a sense of moral …

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The Swedish Chef, Beaker, and Animal share a choral moment. Enjoy! (You should of course also take the time to watch The Muppet Christmas Carol, the GREATEST of all Dickens adaptations, and its slightly alarming making-of documentary. I am word-perfect on this film. It’s awesome.)