Review: The Marston Project

On behalf of the whole team of international scholars preparing the Complete Works of John Marston, I’d like to thank you for what turned out to be a fascinating, exciting and inspiring day. We academics have been working on these texts for two years, but this was the first time that most of us had had chance to encounter any of them in performance, and it was a great revelation to see the work that your students had done. It gave us a unique opportunity to ‘roadtest’ these rarely performed plays and we gained many insights into seeing how they worked: not least,
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Review: Roehampton

We recently ran a four-day conference on the first thirty years of theatre-making in this country, exploring the earliest London playhouses and their impact on literary and theatrical culture. Whilst we gathered together a range of scholarly approaches to this topic (archaeological, archival, literary and performance-focused), it was important to me to get real live performers into the conference and part of our conversation. We saw Dolphin’s Back perform a full production of John Lyly’s Woman in the Moon and explore non-theatrical archival material, and the Royal Shakespeare Company and the theatre-maker Emma Frankland each shared work-in-progress. Our delegates therefore
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Review: A Trick To Catch an Old One

Edward’s Boys’ production of Thomas Middleton’s A Trick to Catch an Old One begs the question of why Middleton’s city comedies are not performed more often by companies like the RSC. That said, it also reminds us how an amateur boys’ company, like Edward’s Boys, can capture the reckless energy of Middleton’s boy plays that may elude adult professional actors. Behind the raucous enthusiasm of Edward’s Boys’ performance is an intelligent, well-crafted production by Perry Mills that fully comprehends the dramatic value of the boy actor in a play that stages generational conflict so starkly. Trick to Catch an Old
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