Exit, Pursued By A Bear

‘Exit, Pursued By A Bear’ is generally considered to be the most famous of Shakespeare’s stage directions – leading up to the off stage death of Antigonus in The Winter’s Tale.

And so Dr Who and BroadChurch star David Tennant’s days with the Royal Shakespeare Company came very in useful when he was asked to talk for 60 seconds without hesitation, repetition or deviation on the topic, ‘Exit, pursued by a bear’, for the Radio 4 program Just A Minute.

In fact, David Tennant managed the feat on his first outing, becoming the most successful debut in the show’s 50 year run. Calling Shakespeare’s direction  ‘the most famous direction in theatrical history’, he spoke at length with some considerable understanding of Shakespeare’s staging of plays. Listen to it here:


For performances at the Globe in Shakespeare’s time it’s not known whether Shakespeare used a real bear from the London bear-pits, or an actor in bear costume. The mystery remains, but we do know that , 400 years after Shakespeare wrote The Winter’s Tale and the stage direction ‘exit, pursued by a bear’, the line is still providing entertainment!

Club di Giulietta: Shakespeare’s Juliet Alive & Well In Verona

julietclubOne of the more curious, non-dangerous, aspects of human nature is our difficulty in distinguishing between fantasy and reality. Indeed, many of the things that we call ‘real’ don’t exist at all: they are constructed in our brains and feel ‘real,’ so we think they are real.

Literature doesn’t help: it reinforces the illusion that its invented characters are real. And there are actually people who believe that some of them are real. The trustees of the Sherlock Holmes Society receive letters every day appealing to the detective to solve the writers’ mysteries. The English radio soap about simple rural folk, The Archers, has a whole department dealing with letters to the characters. When a baby is born or a couple marry the studio is flooded with gifts. And when someone dies the postman has difficulty dealing with the letters of condolence and the studio is fragrant with wreaths. The senders are all people who believe that the characters are real people.

And so it is not surprising that across the street from Juliet’s House in Verona, right opposite Juliet’s Balcony, there is an office in which a team of writers work all day long answering letters to Juliet, asking her advice on matters of the heart. They call themselves the Secretaries of Juliet.

The letters seeking advice on relationships or asking Juliet to bless their relationships arrive by the sack load. Some are written on paper burnt and smeared with mud to look like medieval parchment, while others are accompanied by photographs and drawings.

It all began in the 1950s, when a custodian of Juliet’s symbolic tomb, also in Verona, began responding to letters and notes that tourists left behind. When he retired, the tradition was continued by a succession of volunteers, until the late 1980s when city authorities asked the “Club di Giulietta” (The Juliet Club) to take over. And they are still working on it, dealing with the love issues of people from their teens to their old age.

Some examples show that there’s a kind of celebratory wish to share a love with Juliet:

Dear Juliet, I am in love and have never been so happy. We are getting married at the end of the month. Will you please bless our marriage?

Others ask the impossible:

Dear Juliet, two men want to marry me. Pete is a lovely guy, very sweet and generous, and gentle and loving to me. My parents adore him and are hoping I will choose him. Gareth is a ‘bad boy’ and has actually spent time in a correction facility. My parents would like to ban him from our house and just get up and walk out of the room when he comes round. But I find him exciting and when I am with him I feel high all the time. He is sometimes quite rude to me in public but then he takes me in his arms and all the hurt goes away. Please help me Juliet. Please tell me which one I should marry.

The interesting thing about it is that the people who write to Juliet really do think they are writing to a real person – the fourteen year old who lost her life through making the wrong decisions in her own attempt to deal with the difficult question of love.

Juliet never existed, but there is a sense in which all of Shakespeare’s characters are as real as the people we encounter in our daily lives.

Shakespeare Baby Names For Girls

Looking for some inspiration from Shakespeare for baby names for girls? Shakespeare used 75 women’s names in his 35 plays, naming kings, jesters, heroes and warriors…so something for every personality type! Read the full list of Shakespeare baby names for girls below:

  • Adrian – (Coriolanus, The Tempest)
  • Adriana – (The Comedy of Errors)
  • Albany – (King Lear)
  • Alexas – (Antony and Cleopatra)
  • Alice – (Henry V)
  • Aliena – (As You Like It)
  • Anne – (Henry VIII, The Merry Wives of Windsor, Richard III)
  • Ariel – (The Tempest)
  • Audrey – (As You Like It)
  • Beatrice – (Much Ado About Nothing)
  • Bianca – (The Taming of the Shrew, Othello)
  • Calpurnia – (Julius Caesar)
  • Cassandra – (Troilus and Cressida)
  • Celia – (As You Like It)
  • Ceres – (The Tempest)
  • Cleopatra – (Antony and Cleopatra)
  • Cordelia – (King Lear)
  • Cressida – (Troilus and Cressida)
  • Cymbeline – (Cymbeline)
  • Desdemona – (Othello)
  • Diana – (All’s Well That Ends Well)
  • Dion – (The Winter’s Tale)
  • Dionyza – (Pericles)
  • Dolabella – (Antony and Cleopatra)
  • Dorcas – (The Winter’s Tale)
  • Eleanor – (King John)
  • Elizabeth – (Henry VIII, 3 Henry VI/Richard III)
  • Emilia – (The Comedy of Errors, The Winter’s Tale, Othello, The Two Noble Kinsmen)
  • Gertrude – (Hamlet)
  • Helen – (Troilus and Cressida, All’s Well That Ends Well)
  • Helena – (A Midsummer Night’s Dream)
  • Hermia – (A Midsummer Night’s Dream)
  • Hermione – (The Winter’s Tale)
  • Hero – (Much Ado About Nothing)
  • Imogen – (Cymbeline)
  • Iris – (The Tempest)
  • Isabel – (Richard II, Henry V)
  • Isabella – (Measure for Measure)
  • Isidore – (Timon of Athens)
  • Jessica – (The Merchant of Venice)
  • Julia – (The Two Gentlemen of Verona)
  • Juliet – (Romeo and Juliet, Measure for Measure)
  • Juno – (The Tempest)
  • Jupiter – (Cymbeline)
  • Katharine – (Love’s Labour’s Lost, Henry V)
  • Katherina – (The Taming of the Shrew)
  • Katherine – (Henry VIII)
  • Lavinia – (Titus Andronicus)
  • Leonine – (Pericles)
  • Luce – (The Comedy of Errors)
  • Luciana – (The Comedy of Errors)
  • Margaret – ( 1/2/3 Henry VI/Richard III, Much Ado About Nothing)
  • Margery – (2 Henry VI)
  • Maria – (Love’s Labour’s Lost, Twelfth Night)
  • Mariana – (All’s Well That Ends Well, Measure for Measure)
  • Marina – (Pericles)
  • Miranda – (The Tempest)
  • Morgan – (Cymbeline)
  • Octavia – (Antony and Cleopatra)
  • Olivia – (Twelfth Night)
  • Ophelia – (Hamlet)
  • Paulina – (The Winter’s Tale)
  • Phebe – (As You Like It)
  • Portia – (The Merchant of Venice, Julius Caesar)
  • Regan – (King Lear)
  • Robin – (A Midsummer Night’s Dream, The Merry Wives of Windsor)
  • Rosalind – (As You Like It)
  • Rosaline – (Love’s Labour’s Lost)
  • Silvia – (The Two Gentlemen of Verona)
  • Tamora – (Titus Andronicus)
  • Titania – (A Midsummer Night’s Dream)
  • Ursula – (Much Ado About Nothing)
  • Valentine – (Titus Andronicus, The Two Gentlemen of Verona, Twelfth Night)
  • Valeria – (Coriolanus)
  • Viola – (Twelfth Night)


Having a boy? Check out our list of Shakespeare baby names for boys.

Shakespeare Baby Names For Boys

Looking for some inspiration from Shakespeare for baby names for boys? Shakespeare used 125 men’s names in his 35 plays, naming kings, jesters, heroes and warriors… so something for every personality type! Read the full list of Shakespeare baby names for boys below:

Aaron – (Titus Andronicus)
Abram – (Romeo and Juliet)
Achilles – (Troilus and Cressida)
Adam – (As You Like It)
Adrian – (Coriolanus, The Tempest)
Ajax – (Troilus and Cressida)
Albany – (King Lear)
Alexander – (Troilus and Cressida)
Alexas – (Antony and Cleopatra)
Alonso – (The Tempest)
Angelo – (The Comedy of Errors, Measure for Measure)
Antonio – (The Two Gentlemen of Verona, Twelfth Night, The Merchant of Venice, The Tempest, Much Ado About Nothing)
Aragon – (The Merchant of Venice)
Arthur – (King John)
Balthasar – (The Comedy of Errors, The Merchant of Venice, Romeo and Juliet, Much Ado About Nothing)
Barnardo – (Hamlet)
Bartholomew – (The Taming of the Shrew)
Benedick – (Much Ado About Nothing)
Benvolio – (Romeo and Juliet)
Berri – (Henry V)
Bertram – (All’s Well That Ends Well)
Brandon – (Henry VIII)
Caius – (Julius Caesar, Titus Andronicus)
Caliban – (The Tempest)
Caesar – (Julius Caesar, Antony and Cleopatra)
Camillo – (The Winter’s Tale)
Cassio – (Othello)
Cassius – (Julius Caesar)
Cato – (Julius Caesar)
Cesario – (Twelfth Night)
Charles – (As You Like It)
Cicero – (Julius Caesar)
Clarence – (Richard III, 2 Henry IV/Henry V)
Claudio – (Much Ado About Nothing, Measure for Measure)
Claudius – (Julius Caesar)
Corin – (As You Like It)
Cornelius – (Hamlet, Cymbeline)
Curan – (King Lear)
Curtis – (The Taming of the Shrew)
Davy – (2 Henry IV)
Decius – (Julius Caesar)
Demetrius – (A Midsummer Night’s Dream, Titus Andronicus, Antony and Cleopatra)
Dennis – (As You Like It)
Derby – (Richard III)
Diomedes – (Troilus and Cressida, Antony and Cleopatra)
Donalbain – (Macbeth)
Douglas – (1 Henry IV)
Duncan – (Macbeth)
Edgar – (King Lear)
Edmund – (King Lear)
Edward – (2/3 Henry VI/Richard III)
Egeon – (The Comedy of Errors)
Emmanuel – (2 Henry VI)
Fabian – (Twelfth Night)
Fenton – (Merry Wives of Windsor)
Ferdinand – (The Tempest, Love’s Labour’s Lost)
Francis – (1/2 Henry IV)
Francisco – (Hamlet, The Tempest)
Frederick – (As You Like It)
George – (2 Henry VI)
Gonzalo – (The Tempest)
Gregory – (Romeo and Juliet)
Griffith – (Henry VIII)
Hamlet – (Hamlet)
Hector – (Troilus and Cressida)
Henry – (King John, 1/2 Henry IV, Henry VIII, 1/2/3 Henry VI, Henry V)
Hubert – (King John)
Iago – (Othello)
Jamy – (Henry V)
Jaques – (As You Like It)
John – (King John)
Joseph – (The Taming of the Shrew)
Justice – (Measure for Measure)
Laertes – (Hamlet)
Lance – (The Two Gentlemen of Verona)
Launcelot – (The Merchant of Venice)
Lennox – (Macbeth)
Leonardo – (The Merchant of Venice)
Lincoln – (Henry VIII)
Lorenzo – (The Merchant of Venice)
Lucio – (Measure for Measure)
Lucius – (Julius Caesar, Titus Andronicus, Timon of Athens)
Lysander – (A Midsummer Night’s Dream)
Macbeth – (Macbeth)
Malcolm – (Macbeth)
Marcellus – (Hamlet)
Mercutio – (Romeo and Juliet)
Michael – (2 Henry VI, 1 Henry IV)
Morgan – (Cymbeline)
Mortimer – (1 Henry VI)
Morton – (2 Henry IV)
Oberon – (A Midsummer Night’s Dream)
Octavius – (Julius Caesar)
Oliver – (As You Like It)
Orlando – (As You Like It)
Orsino (12th Night)
Oswald – (King Lear)
Othello – (Othello)
Paris – (Romeo and Juliet, Troilus and Cressida)
Peter – (2 Henry VI, Romeo and Juliet, The Taming of the Shrew)
Petruchio – (Romeo and Juliet, The Taming of the Shrew)
Philip – (The Taming of the Shrew, King John)
Philo – (Antony and Cleopatra)
Prospero – (The Tempest)
Puck – (A Midsummer Night’s Dream)
Reynaldo – (Hamlet, All’s Well That Ends Well)
Richard – (Richard II, Richard III)
Robert – (King John)
Robin – (A Midsummer Night’s Dream, The Merry Wives of Windsor)
Roderigo – (Othello)
Romeo – (Romeo and Juliet)
Ross – (Richard II)
Sebastian – (The Tempest, Twelfth Night, The Two Gentlemen of Verona)
Shaw – (Richard III)
Silvius – (As You Like It)
Timon – (Timon of Athens)
Titinius – (Julius Caesar)
Toby – (Twelfth Night)
Tybalt – (Romeo and Juliet)
Ulysses – (Troilus and Cressida)
Usher – (Coriolanus)
Valentine – (Titus Andronicus, The Two Gentlemen of Verona, Twelfth Night)
Vincentio – (Measure for Measure, The Taming of the Shrew)
William – (As You Like It)


Having a girl? Read our list of Shakespeare baby names for girls.

Midsummer Madness With Outdoor Shakespeare

outdoor-shakespeareWe’re back from our summer holiday – hot throughout Europe but, alas, as so often in England, summer’s lease hath all too short a date, and so it was this year. Nevertheless, the list of outdoor performances of Shakespeare’s plays is long and it grows longer every year. From The Globe on the Thames, to the Tea Lawn of Lauderdale House in suburban Hornsey, where tourists never penetrate, Shakespeare’s characters have enjoyed a great deal of summer basking in London.

You could have gone to Regent’s Park to see The Winter’s Tale, or you could have attended a free performance of Hamlet at Canary Warf in a park surrounded by glass fronted skyscrapers that form a modernistic backdrop to the Elizabethan dramas. Or you could have gone to see The Comedy of Errors in Coram’s Fields near Russell Square in the very heart of London. The Kensington Roof Gardens used only the stars as the setting for their Romeo and Juliet.

But there are also many famous, outdoor Shakespeare festivals beyond London. There are annual performances in both of the university cities of Oxford and Cambridge. The Royal Shakespeare Company stages performances in Stratford, on the banks of the Avon beside Shakespeare’s burial place, the Trinity Church. The Dell, as it’s called, hosts student and other amateur groups and this year they came from all around the world and offered The Tempest, The Merry Wives of Windsor, Much Ado About Nothing, As You Like It, Romeo and Juliet, Macbeth, Coriolanus, A Midsummer’s Night Dream, Measure for Measure, Pericles, Cymbeline and Henry IV Part 1.

Towns across England enjoy Shakespeare in one of their parks or the gardens of their stately homes. They are usually staged by amateur groups but some towns, like Stamford in Lincolnshire, have performances staged by professional companies.

Shakespeare haunts America’s summers, too, with festivals, both metropolitan and local. The most famous and popular outdoor venue in New York is the Delacorte where Shakespeare in the Park stages first rate productions, but there are many other venues such as, Carroll Gardens in Riverside Park, on Rooseveld Island and in numerous other places in all five boroughs.

Wherever you are in an English or American summer you are within easy reach of an outdoor production of one of Shakespeare’s plays!

Shakespeare in Tofflerland – To App Or Not To App

Shakespeare lived and wrote his plays in the era that the American futurologist, Alvin Toffler, dubbed ‘the first wave.’ That was the agrarian period between the hunter-gatherer era and the industrial revolution. Toffler’s most famous book, The Third Wave, published in 1980, predicted the digital world that we live in today, where tiny bits of information are the basic units of life.
In our post industrial third wave universe information flies around the world and, indeed, through space, at the speed of light. What would Shakespeare have made of it? His imagination, huge and universal as it was, could not have imagined it. Even some of us, living right in the middle of the great digital revolution, regard emails and texts as magic. As I do. If I needed to, I could send an instant message to someone living in China but although I know how to do it I have no idea how it works. But just think about how one of the great tragic moments of literature would never have been written if the Elizabethans had had cellphones. Friar Lawrence’s message to Romeo, sent via a monk on a donkey, that Juliet is not dead but just drugged, and waiting for him to wake her up, goes undelivered: the monk is intercepted and quarantined  and is therefore unable to deliver the message. It’s a great dramatic device that leads directly to the tragic outcome of the play. Imagine, though, if Friar Lawrance had had a cellphone. He would just have sent a text. Romeo, a teenager, would, of course have been joined to his cellphone and received the message instantly. The tragedy would have been averted.


It’s not how Shakespeare’s plays would have been different if emails and texts had been available to their characters that is interesting, though, because the plays were rooted in a pre-third wave age and are what they are. More interesting is how Shakespeare relates to the digital technology of our time:


Filling the London theatres in the sixteenth century provided a remarkably large audience for Shakespeare’s plays. And when the plays were published in book form it created the opportunity for a wider audience. Some time after Shakespeare’s death his plays began to be performed in theatres that had no connection with those for which they were written. Performances spread to America, and then other countries – the British colonizers took Shakespeare with them wherever they went. And then the plays were taken up by the film industry and, after that, television, with increasingly bigger audiences.


Shakespeare was, by now, the biggest thing in the global culture but he was to become even bigger with the advent of the internet. There’s no stopping him, of course, and he’s become just about the biggest thing on the Web as well.


And now apps designers are working overtime on developing Shakespeare Apps. You can already get the complete works with the most up-to-date interactive technology, so now it’s all there on your Smartphone, available with a whisk of a finger.


You can get any sonnet as you wait in the doctor’s waiting room, together with unfathomable amounts of information about it. If you need more you can ask questions and get answers before you’re called in to the doctor. You can listen to bits of text read by the world’s greatest actors as you walk to the bus stop. By the time the bus comes you could have heard a host of experts telling you why that bit of poetry is so wonderful. You can get a virtual tour of Elizabethan Stratford-upon-Avon and an actual guided tour of Stratford as it is today. And the designers are creating new Apps every day.


Writing about the views he expresses about love in Sonnet 18, Shakespeare concludes: ‘So long as men can breathe, or eyes can see, so long lives this, and this gives life to thee.’ Little did he know the full truth of that, his works travelling triumphantly through every era’s technology, becoming new and fresh with each development. There is technology to come, well after our time, that we cannot imagine, but we can be sure that Shakespeare will live on in all of it.

Reasons We Know Shakespeare Wrote His Plays

“Daisies pied and violets blue and lady-smocks all silver-white”

The distinguished Shakespearean actor, Dame Janet Suzman has just  published a book entitled Not Hamlet,  about the treatment of women in theatre. One of the chapters addresses the Shakespeare conspiracy theory/authorship debate.  She takes the traditional scholarly view that it was one Master William Shakespeare of Stratford-upon-Avon who wrote the plays.

In her book Dame Janet has attacked two other distinguished Shakespearean actors, Mark Rylance and Sir Derek Jacoby for, as she puts it, ‘giving succour’ to conspiracy theories that someone else wrote the Shakespeare plays. Rylance has suggested that de Vere was the author because of his intimate knowledge of Italy, a country where several of the plays are set. Jacobi was more forthright, positively identifying de Vere as the author. The film, Anonymous, in which both Rylance and Jacobi appeared, presents the case for de Vere being the author. Dame Janet accuses the film’s producers of wasting their money in making it and calls the production ‘a far-fetched film …. with no facts to back it up.’

All this shows how fiercely the debate still rages.

We at NoSweatShakespeare agree with Dame Janet. Quite simply I accept all the arguments in favour of Shakespeare’s authorship and reject those opposing it (and the people put forward as writing Shakespeare’s plays). Two reasons, in addition to those arguments, convince me.

The first is somewhat oblique – not a reason for Shakespeare having written those incredible plays, but a reason why it’s not improbable. The argument has been made that Shakespeare came from an illiterate family, had an inadequate formal education, and that Stratford-upon-Avon was a cultural backwater, unable to germinate such wonderful literature. My reply is that genius is something we don’t understand: it’s something we just see from time to time and it springs up in unexpected places. Yes, Beethoven’s father was a musician, allowing his son to grow up in a musical environment, but he was small time, mediocre and never sober. But the genius of his son, Ludwig, is seriously unbelievable. Monet’s family had contempt for art – his father was a businessman, artistically illiterate – and he actually disowned his son because of his lack of interest in the world of business and his unsuitable marriage to a woman considered to be beneath him. Where did Monet’s artistic genius come from? We will never know.

One could cite geniuses forever but it wouldn’t help us to understand what genius is or where it comes from. One doesn’t usually find that the artists or writers or scientists who stand out in history as giants in their field come from fathers or mothers distinguished in the areas where their child becomes immortal. Moreover, it’s very rare for one of the giants’ children to become renowned as a genius. Geniuses of the Mozart, Michelangelo, Shakespeare kind are rare, unusual and inexplicable. That’s my first reason for dismissing the arguments against the Shakespeare authorship.

My second reason is more specific and, to my way of thinking, utterly convincing. To me it’s inconceivable that the plays could have been written by anyone growing up in an aristocratic environment, surrounded by tutors and classical books. It’s also inconceivable that they could have been written by anyone growing up in an urban environment. They could have been written only by someone who was surrounded by countryside and knew it intimately. And, more specifically, the Warwickshire countryside, where Shakespeare grew up.

Let us return to the subject of genius for a moment. There are two English geniuses who stand out above most of the others. They are William Shakespeare and Charles Darwin.

The two men have one distinctive mental quality in common. Darwin used his unusual powers of observation to tell us how life itself works: Shakespeare used those same powers of observation to create some of the most beautiful poetry ever written in the English language. As he was growing up the young William wandered around the Warwickshire countryside, taking note of plants, animals and insects, observing them closely, taking a detailed interest in  the way bushes, trees, fruit and flowers developed and grew, what they looked like and how human beings interacted with them. Like Darwin was to do, he observed birds and insects closely – how they flew and crawled, their colours and their behaviour.

Shakespeare’s sonnets, plays and, indeed, all his other poems, are full of poetry made from those observations. Notice the detail in such a passage as this one from A Midsummer Night’s Dream:

“I know a bank where the wild thyme blows,
Where oxlips and the nodding violet grows,
Quite overcanopied with luscious woodbine,
With sweet musk-roses, and with eglantine:
There sleeps Titania sometime of the night,
Lulled in these flowers with dances and delight.”

The Bard seems to have particularly loved violets – Warwickshire is covered with them.  He drew on his love of the flower again and again throughout his work: “Daisies pied and violets blue and lady-smocks all silver-white;” “Like the sweet sound, that breathes upon a bank of violets;” “Welcome my son: who are the violets now that strew the green lap of the new come spring?” and “From her fair and unpolluted flesh may violets spring!” are just a few examples of the violets that infuse his verse.

He also encountered some of the less pleasant things that lived in the Warwickshire countryside.

“You spotted snakes with double tongue,
Thorny hedgehogs, be not seen;
Newts and blindworms, do no wrong,
Come not near our fairy Queen.”

The author of the plays was familiar with country sports:

“As wild geese that the creeping fowler eye, Or russet-pated choughs, many in sort, rising and cawing at the gun’s report, sever themselves and madly sweep the sky”

The insects that inhabit Warwickshire fill the poetry:  Such things as “the shard-born beetle with his drowsy hums” and the famous insult, “Thou art a saucy beetle-headed boar-pig!” are everywhere in Shakespeare’s poetry. And what would we do without the phrase “beetle-browed?”

Country people, too, fill Shakespeare’s pages, from the rural constabulary, gravediggers and ploughmen to the harvesters – “sun-burnt sicklemen and sedge-crowned nymphs.”

Not one of the other contenders for the authorship of the Shakespeare plays grew up in Warwickshire: they were all men who had enjoyed the more sophisticated pleasures of the educated and wealthy than the simple country wanderings of the boy who eventually grew up to write the plays.

So rather than go into the arguments for and against the Shakespeare authorship I ask you just one question – the author of the Shakespeare plays was someone who grew up in a village in the heart of Warwickshire. And which of the contenders was that?

World Shakespeare Festival in Pictures

As the summer-spanning Shakespeare extravaganza that is the World Shakespeare Festival comes to an end in the UK we’ve flicked through the NoSweatShakespeare facebook page to pull together a selection of our favourite moments from the festival. With over 70 productions and exhibitions, 50 theatre companies and thousands of international artists there was certainly plenty of choice, but the ten images below showcase the breadth and imagination of Shakespeare productions around the world.

Play 1 of 37 at the World Shakespeare Festival: New Zealand's Ngakau Toa theatre company perform the first ever 'haka' at London's Globe theatre.


A classic kiss - Miranda & Ferdinand in the RSC's World Shakespeare Festival production of The Tempest.


The Taming of The Shrew from Pakistani Theatre Wallay - KASHF. Rich colour and energy with live singers and musicians makes for an uplifting version of the first romcom!


A visually stunning Brazilian interpretation of Shakespeare’s Richard III for World Shakespeare Festival


A rolly-polly Falstaff spearheads a visually intoxicating Merry Wives of Windsor, performed in Swahili and brought to the Globe from Nairobi, Kenya, by the Bitter Pill company.


Yohangza Theatre Company represent South Korea in the World Shakespeare Festival's latest show - would you have guessed it's A MIdsummer Night's Dream?


Shakespeare in Hindi? The Company Theatre offer just that in their performance of Twelfth Night at the World Shakespeare Festival...


Gujurat Arpana theatre group mix live music, dance and acting in their first UK production at the World Shakespeare Festival - All's Welll That Ends Well


The South Sudanese Theatre Company - from the world's newest country - perform Shakespeare's Cymbeline, a play about Italian and Celts in Arabic.


The Gabriel Sundukyan National Academic Theatre of Armenia offer their take on King John on their first visit to the UK.



That’s your lot folks! Which was your favourite production from the World Shakespeare Festival?