by Chloe Whitehead Five English students, a medic and some wholesome Shakespeare – a day out made in heaven? We thought so. On a rainy Thursday in January we went to see Twelfth Night at the Royal Shakespeare Company in Stratford-upon-Avon, and on the whole witnessed a brilliant performance. Despite being an English student, I’d […]
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by Michael Angerer Every ending is an invitation to look forward. As we move through time, the impenetrable murk ahead, like infinite layers of cobwebs, resolves into wispy strands of memory that trail behind us; and with every new layer we brush aside, we hope to get a glimpse of the next. This, ultimately, is […]
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Rory Turnbull (Poetry Editor) has been criticised of late for writing nothing but sonnets. As Matthew Hull sets forth in his polemic treatise: So Rory Turnbull writes in sonnet form? And doth to write in other forms refuse? For “poorer poets write in multiform Barbaric meters which no structure use. There is no room for […]
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by Jacob Warn Welcome to a world of music, of love, and of language. This is a world of drunken revelry and cross-gartered madness, overwriting a history inscribed with the vestiges of war, loss and social change. Shakespeare’s Twelfth Night is just a comedy. Some say. But it is this kind of thinking that results in the generic […]
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by Jacob Warn WARNING: Contains plot details “The rendering is sublime: we watch in mounting and surmounting terror, during which the sole comfort is the divide between stage and pit, fiction and reality.” This is a play of love between friends. Of love getting between friends. But as a play – as a tragedy – […]
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by Chloe Cheung Readers are advised that this review makes details of the plot and production explicit. Not even Stewart Lee makes me laugh as much as I did at Christopher Luscombe’s new production of Love’s Labour’s Lost for the Royal Shakespeare Company (RSC). Hailed as ‘sparklingly funny’ (The Times) and brimming with ‘continual comic […]
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The Poor Print 