Theatre Review- Much Ado About Nothing by William Shakespeare, performed by Poltergeist Theatre

Title: Much Ado About Nothing 

Writer: William Shakespeare

Director: Jack Bradfield 

Performed by: Poltergeist Theatre

Seen at: The Michael Pilch Studio

Review: Shakespeare’s tale of two schemes concerning lovers – one to get a couple together, one to tear another couple apart- could conceivably happen anywhere. Jack Bradfield sets the action in a house party at the turn of the millennium, when anything might happen.

Theatre Review- Macbeth, performed by Act Three Theatre

Title: Macbeth

Writer: William Shakespeare

Performed by: Act Three Theatre

Major cast: Josh Beecham, Ned Walkely, Simon Morgan

Seen at: Paradise in the Vault, Edinburgh Fringe
Summary: An exciting new take on William Shakespeare's Macbeth. Using the original language but set in a young offenders’ prison, it is bold, fast-paced, and performed entirely with a cast of three.

Theatre Review-A Midsummer Night's Dream, performed by the Arcola Queer Collective

Title: A Midsummer Night's Dream

Writer: William Shakespeare and Patrick Cash and company

Director: Nick Connaughton

Performed by: Arcola Queer Directive

Cast:  Sheena Anyanwu, Diego Benzoni, Miss Cairo, Daniel Correia, Anthony Cranfield, Vickie Dillon, Rudi Douglas, Camilla Harding, James Hartley, Stuart Honey, Damien Hughes, Krishna Istha, Rubyyy Jones, Damien Kileen, Bex Large, Phil Rhys Thomas.

Seen at: Arcola Theatre

Review: Hermia and Lysander are a happy couple, much to the protests of Hermia's homophobic mother Egeus. Helena is a young man in love with Demetrius, who pushes him away. The couples all get mixed up at a nightclub, La Forêt, when the owner Oberon uses Puck to matchmake. Meanwhile, Oberon's relationship to his wife Titania is breaking down over the care of an abducted Irish musician, while the backstage team of La Forêt prepare for their turn in the spotlight. Through Shakespearean verse and contemporary additions, A Midsummer Night's Dream is a tale of love, relationships, and how that all works out.

I was very excited for this. Midsummer is one of my favourite Shakespeare plays, and the fact that they were making it to include queer characters and modernised made me even more interested.
I'm glad I knew it had added monologues before going in. I wouldn't have hated it if I hadn't, I would just have been puzzled to start with. The monologues are good additions, and I'll come to them later.
We're introduced to the last night of La Forêt. Introducing Puck as the in house drug dealer sets the tone. Then for the rest of the play, which happens mostly as Shakespeare intended, with some flashback scenes and speeches added in. 

I like most of the new characterisations. The Mechanicals have a weird love triangle/pining thing going on (Flute loves Quince, Snug makes physical moves on Quince, I'm not sure whether Quince reciprocates either of them. It's not really explored, or maybe I didn't notice it ) but they do produce a good play by the end of it. Theseus and Hippolyta were...bizarre. Were they high? Their comments are amusing ("Hermia can go to a convent or die" "That's a bit much." And "I will kiss the wall's hole" "Shakespeare is a pervert") but I'm not sure where their characters were going.
Other characters get better development. Puck is a cabaret, Doctor Frankenfurter like figure, introduced by a monologue of how he ran away then got into this culture. Hermia talks about her relationship with her mother. Helena's speech about porn and falling for Demetrius is funny and makes you love him. Bottom comes out of character and delivers a passionate speech, including poetry, about their identity and society, which I thought was a brilliant performance. 

There are four characters that this production of Midsummer changed my views on. First, Demetrius, who from the Shakespeare is normally one of my lesser favourites due to him being a bit of an asshole. Here, his speech about HIV gives him a reason for pushing Helena away, despite his feelings for him, and does not make him seem heartless.I also liked it because Oberon, listening to this speech, now has a more valid reason to work to get Helena and Demetrius together and finally yay bisexual visibility. Then there's Oberon and Titania, who are again a warring couple, but there's a confrontation scene at the start of the second half between them that is distinctly modern and pulls up the issues in their lives as they discuss the family and identity they left behind and how to go forwards. We see more flaws in both their characters than from the Shakespeare, and added new levels of manipulativeness, and I liked the new take on the relationship. Finally, there's the kidnapped boy they're fighting over-Irish here, as opposed to Indian, and given a chance to talk about his new life and chemsex, as opposed to being namedropped and maybe brought on with the fairies. He also provides really good keyboard and singing. 

The staging of this is good. They stay mostly on the main stage but sometimes use the upper level, where the Irish Boy and keyboard is stationed, and an aisle, for the flashbacks.I also enjoyed the little bits of audience interaction which made it more inclusive, but not so much to intrude on the main action.

They make full use of innuendo in the Pyramus and Thisbe scene, and the Titania and Bottom seduction scene, providing adult physical comedy that differs to the comedy I'm used to seeing from Midsummer (and the comedy that others are used to too-the performance I was at saw a group of old people leave for the interval and not come back).

The comedy is less present in the lover's fight scene, when Lysander and Demetrius are both artifically in love with Helena, while Hermia looks on. I think it might be because it takes the bad situation for Hermia (having both her suitors completely change tack and court her best friend Hermia) and makes it worse because there's something a little more heartwrenching as her girlfriend Lysander (who I think might have been a lesbian?) starts wooing a gay boy, and the friendship and romance falls apart. 

I think the strength of this performance is that they take the issues surrounding courtship and marriage that are present in the Shakespeare, and look at the issues surrounding courtship and marriage today, particularly within the queer community.

Overall:  Strength 4.5 tea to a play that easily weaves together Shakespearean and modern stories to create a play that is both funny and serious, but entirely powerful.

Links:  Company and play| Theatre

Arcola Queer Collective is currently performing Le Petit Prince, between 8 -13 February. More information here.

Theatre Review: Secret Shakespeare by William Shakespeare and The Handlebards

So, my Edinburgh Fringe theatre reviews are ready to be posted! They’ll come as often as I can, but I have a lot of school work to do, plus I’m doing work exp

erience at a law firm and ugh travelling is tiring. They’ll come though. And book reviews will resume shortly, and maybe some other things. Thanks for sticking around!   

Title:  Secret Shakespeare (A Shakespeare play, but I can't say which one)

Writer: William Shakespeare

Director: James Farrell & Emma Sampson

Performed by: The Handlebards

Major cast:  Calum Hughes Mcintosh,  Callum Brodie, Tom Dixon, Paul Moss

Seen at:  ...somewhere pretty.

Review: The Handlebards are four actors who have been cycling up from London to Edinburgh, carrying their costumes and props, and stopping every so often to perform a show. Secret Shakespeare is where the audience joins them to meet up in the city centre, get given bikes, ride out about 5 miles-ish, and then enjoy the show. I'm not allowed to tell you much about the play in specifics, due to the secret thing, but I'll say what I can.
The ride was easy, even for someone who hasn't ridden for years, and led by professionals. We cycled through parts of the city I probably would never have seen if I'd spent all my time in the centre, so that was nice.
The location was beautiful. Beautiful behind the audience, beautiful behind the stage, it was a great place to be. It's an open air show, with tents providing the wings and gazebos for the audience to sit under. Oh, and the rain wasn't too bad!
When they said what play they were doing, I was very happy. I hadn't seen it before, but I was familiar with the storyline.
I love the puppetry. It's first used to illustrate the exposition speech, which was very useful because it is a confusing set up. It's later used to represent characters in some scenes where there's meant to be more than four characters on stage. Other ways of getting around the "only four actors" thing includes holding out key identifying costume pieces, audience participation, and plates.
The multiroling is superb. All four actors have to switch costumes and characters very very quickly, sometimes speaking back to themselves. Costume, voice, and movement changes make clearly defined characters. I really enjoyed the characterisation, especially of the women.
I did find it going a bit too fast in places, and I'm not sure if it's because of the Handlebards format or the writing. Probably both. Despite this, I really enjoyed the show.

Overall:  Strength 5 tea to an inventive take on an old play, and a great evening out.

Links:  Company

Theatre Review- Titus Andronicus by William Shakespeare, performed by Smooth Faced Gents

Title: Titus Andronicus

Writer:  William Shakespeare

Director:  Yaz Al-Shaater

Performed by: Smooth Faced Gentlemen

Cast:  Ariane Barnes, Olivia Bromley, Anita-Joy Uwajeh, Ely Condron, Lia Burge, Ashlea Kaye, Helen Coles, Emma Nixon

Seen at:  Greenwich Theatre

Review: Following a bloody war with the Goths, Romans return home with prisoners but without an emporer. Titus Andronicus is appointed, but he refuses. Saturninus is appointed emperor, and he says he wants to marry Titus’ daughter, Lavinia. Lavinia and her lover/Saturninus’ brother object, so Saturninus takes Tamora, the queen of the defeated Goths, as his empress. Throw in her two sons, her lover, and her desire for revenge (fair enough, considering within the first five minutes of the play, her eldest son is cut up, despite her pleadings), and you have Shakespeare’s bloodiest play... here performed with an all-female cast and a lot of red paint.

I was very excited to see this. I read Titus a few years ago, and wondered how it could be done on stage what with...everything. I saw a cinema screening of the RSC production where they did it very realistically, which was pretty good. And then I saw this.

Everybody has the same costume as a base-black trouser, white shirt, and braces. Coats and props are used to differentiate major characters from eachother, but  even without these, you can tell when people are playing different characters.

 This was cast perfectly! Ariane Barnes is a strong Titus, being the right mix of funny  in some places and and emotional in others.  Anita-Joy Uwajeh plays Aaron with a distinctive style that I couldn’t pin down but which one of my friends said was mythical and magical. Elly Condron is Lavinia, who makes you form an emotional connection with her depsite her losing her tounge about a third of the way through ,and having what seems like quite a few of her lines cut. Olivia Bromley’s Tamora is coldhearted, but you can feel the power coming off her.  Everybody was very talented and embodied their character(s) wholly, changing styles as they changed character, especially considering Helen Coles and Ashlea Kaye’s characters were completely morally opposites (Chiron and Lucius for Coles and Marcus and Demetrius for Kaye). And on a less serious note, Lia Burge’s  Saturninus telling Emma Nixon’s Bassianus  “Sir, you are being very short with us!” was wonderful.

They kept the tone right. From my reading of Titus, I enjoyed the humour (and it does come thick and fast, with Shakespeare taking the sass levels high), to contrast with the horrors that the play contains. It comes through in this play, but as I said, it allows suitable tenderness in the scenes with the Titus family, completely in contrast to Aaron’s casual attitude to demanding a hand in return for the exchange for sons, the moments when Titus suggests names of Lavinia’s attackers, and the background Goths passing round Aaron’s child and their different attitudes to him while serious things happen in the front.

I am completely in love with this staging. There’s white screens, behind which the characters change (sometimes), and  paintpots at the front. The strictly held colour scheme of black, white, and red, with silver and brown accents, and the replacement of knives and swords with paintbrushes and rollers made it look a bit surreal, which allowed them to do all kinds of gory things on stage. It was a brave decision to do Lavinia’s mutilation on stage, but they made it work so horrifyingly well. Accompanying music was provided by the actors singing, and they did it very well, holding their lines while also effecting scene changes and such, although it did seem a little random, only happening at some scenes and not others. 

It’s very fast. I think they cut about an hour’s worth of lines, which is a shame, especially when Lavinia and Bassianus had brilliant lines before they lost the ability to speak, but it was still easy to follow and enjoy, and we kept some very good monologues.

There could be  political/feminist discussions over having an all-female cast, especially considering there's only three canonically female characters, and the really terrible fate of one of them. I'm not going to discuss that, because regardless of their gender, all eight actors conveyed the characters and made them real. 

Overall:  Strength 4 tea to a slick, brilliantly acted performance. Can’t wait to catch the Smooth Faced Gents  (possibly again in Titus, definitely again in Othello) up in Edinburgh!

Links:  Company website | Theatre website

Theatre Reviews: I Need a Doctor and Shakespeare's Avengers Assembleth

Title: I Need a Doctor: The Whosical

Director: Benjamin Occhipinti

Major cast: James Wilson-Taylor and Jessica Spray

Seen at: Pleasance, Edinburgh Fringe

Review: Jamie and Jess are two Whovians who want to perform a Doctor Who themed musical. Who have recieved a Cease and Desist notice from Stephen Moffat. Oh well-changes can be made so copyright infringement can be avoided, right? With this in mind, Jamie and Jess take on the roles of a companion, A Doctor, and multiple villians, and journey through time and space in the TARD- Phone Box. I wasn't sure if I was going to see this, but then I got told they make fun of Moffat and I was sold.

Its a very clever parody. Yes, they do  make fun of Moffat, using fairy godmother Amy Wand, who continually advises Jess to obey the Doctor and stay where she is. Like companions of a better time, Jess ignores her and goes and has adventurers.

Both performers, and the pianist, are very good at what they do. The multiroling that Jamie does is brilliant, especially when portraying A Doctor and Da Master simultaneously.

Jokes come continually, a mix of Who-related, musical related, generally awesome lines, and one thing that was set up from the start just to include

which just made the whole show better.

 [if you can't see it, that’s the BARROWMAN gif]

The original songs are catchy, and funny. I also likes how they included changed bits from other musicals like The Ballad of Sweeney Todd (the Exterminators), Confrontation (from Les Mis, A Doctor and Da Master), and Music of the Night Phantom of the Opera  [edited] (from Phantom, Da Master and Jess, leading to "sing for me, angel....bloody hell!")

Overall Strength 4 tea to a really fun show that every Whovian and every fan of musicals (that catches most of you guys, right?) must see.

Links: Company

Title: Shakespeare’s Avengers Assembleth

Performed by: Drake's Drummers Theatre Company

Seen at: Greenside Theatre, Edinburgh Fringe

Review: Queen Elizabeth is about to be crowned, making England Protestant. Knowing that The Pope will try and keep England Catholic she commissions William Shakespeare to write a play with his greatest heroes,  warning of Catholicism. The Vatican's High Inquisitor is not happy about this, and he in turn summons Shakespeare's greatest villains. This results in a cobbled together play starring Cardinal Dave, William Shakespeare, and his greatest characters (and Brutus).

I was very excited about seeing this play. I knew it wasn't going to be Marvel's characters in Shakespearean (though that would have been awesome too), and was excited to see how they'd all interact.

There were lots of running gags that always made me laugh, such as Hamlet  always talking to Banquo, Ophelia's offstage actions, Brutus being very stabby and the High Inquisitor's grasp on his religion.

Interpretation of characters was a mix of brilliant and...interesting. I loved the characterisation of Brutus, Macbeth, and Juliet.

The plot wasn't great, and the play within a play was impossible to follow. I think that might have been intentional though, judging by the jokes about it within the script. This play should be judged more on its jokes; the oneliners, physical things, and ones that take a bit more time  to set up.

The cast multiroled and played off each other really well. The lighting and stage were kept very simple, and I think as well as a riff off Shakespeare, it's also a comedy about very amateur productions and how they get produced (that is, badly organised, lots of arguements, and lots of laughs, which is highly highly accurate). 

Overall Strength  4 tea to a fun story and spin on Shakespeare's characters.

From Bard to Bookshelf SignUp Sheet

It's 23rd April, so kind of a busy day. First, its' Saint George’s Day, so if any of you are English patriots, or otherwise interested, click here to read about him (Then hang around that site. It’s a great site with retellings of all the myths with a giant dose of humour. Well, not all of them, obviously. But lots of them).

Happy World Book Night! Have fun, everyone who's giving books out, either as an official person with the pretty covers, or as a Community Giver, giving books to people because why not?

Finally, more the reason for this post. 23 April is the accepted birthday (and death day) of William Shakespeare, and this year's even more special, as it should be Shakespeare's 450th birthday.

You may or may not know that I really like Shakespeare's plays. I love seeing them performed. i am attempting to have done one-person dramatic readings  of three quarters of his plays by the time I leave school. I’m working on it...

Anyway, sometimes I wonder. Why are his stories so popular that they’ve lasted centuries, being performed by countless players, and adapted by so many writers? I know that his plays were often based off other stories, but it’s his take on them  that we remember.

And it’s his take on them that gets adapted a lot. It’s often into films, but then there’ll be other plays. And comic books. And manga. And novels. And I want to do something to celebrate this.

I’m planning a blog event to happen in  August when we all celebrate Shakespeare, and Shakespeare’s influence on YA. It's open to anyone who enjoys Shakespeare; readers, writers, actors, whoever. I’m thinking posts you host on your site unless you really want it hosted here, reviews of plays by or YA inspired by Shakespeare, alternative interpretations, posts about themes in Shakespeare and YA,opefully a few giveaways here, anything goes.

If you’d like to take part, fill out the form below,  and do a post or video or somehow spread the word about this event, linking back here. Soon there’ll be a pretty button you can share, when I’m a little less busy. I’ll email you to talk about what you want to do, and sort out posting dates and things. Signups are open until mid-July.

 I leave you with one of my favourite lines from Macbeth.

Theatre Review-Coriolanus at the Donmar Warehouse

This was going to go up later in the week, but as it's Hiddleston's birthday, I thought it appropriate to do it today!

Title: Coriolanus

Writer: William Shakespeare

Directed by: Josie Rourke

Major cast: Tom Hiddleston, Hadley Fraser,

Seen at: the cinema, NT Live screening. Performed at the Donmar Warehouse.

Warnings: graphic gore

Review:Caius Martius  has been fighting with Coriolus. Returning to Rome, he is placed in as a senator  and given the name Coriolanus. However, with his rude attitude, and the fact that he was made more for war and not politics, this doesn't go well and leads to his exil e and downfall. 

I didn't know much about the  play. I hadn't heard of it before, and I'm glad it's being done (rarely done plays being done make me happy). I went to see it because a friend of mine really likes Tom Hidldeston and we went to go with her.

We went to a livescreen version (National Theatre, I love you for doing these things) and had a short feature with the presenter woman who is always there, which was a little annoying because I think we all just wanted to see the play.   We were kind of surprised at the audience- in a giant cinema screen, there were possibly ten teenagers total?  Mostly older people.  Also one of our English teachers. 

It starts off dramatically, with a boy, Martius' son, coming along and painting a box in red paint on the stage. For most of the first act, the whole cast are on stage, either acting, or simply sitting at the back.  This did have the effect of being a little distracting- in the words of another friend, Tomato,  “I kept getting distracted by Hadley Fraser's face”.

The scene changes were amazing. They weren't much-just movements of chairs, perfectly timed and choreographs, to dramatic music, but that was enough for this very minimalistic staging  propswise. In terms of what they did to the stage-that's a bit less minimalistic.  They made paper things come out everywhere. They made a shower scene happen. For Coriolanus. For Tom Hiddleston. I'm sure most people appreciated that.

 Tom Hiddleston and Hadley Fraser both play their parts very well. Hiddlestone puts a lot into the way he carries himself in the performance, which I liked. Birgitte Hjort Sorense, who played Virgilia, Martius' wife, was quiet and I liked the way that she was all, with her facial expression and attitude, “seriously?” when Deborah Findley aka Virgilia aka his mother and Mark Gatiss aka Menenius a family friend, was all “Yeah! He's coming back with loads of wounds! He's a man now!”

For the care put into creating the giant wounds across Coriolanus' body, even they're only seen in one short scene, props to the makeup department.  And whoever had to go find/make/supply all the fake blood.

Around the middle of the play, I didn't understand Coriolanus. He goes back to Aufidus-the guy he very nearly killed and offers to let Aufidius kill him- and then he  gets welcomed like an old  friend and I don't understand why Aufidus would be “you nearly killed me a few acts ago” and lets him lead a new assault on Rome.

The ending was really unexpected, and really well carried out. This made the bows mildly amusing- small cast of 14 (I think), all looking immaculate, bar Hiddleston and Fraser, faces totally covered in blood.

Overall: Strength 4 tea to a powerful staging of a play I wish I'd known about before.

  Links: | NT Live|   Theatre

Theatre Review- Macbeth (in Pitch Black) by Shakespeare

I said I was going to branch out... It's time for tea-tre; thank you Georgia for the name :) 

I hope you don't mind the fact I'm doing something new with the blog. I'll be showcasing awesome things, so maybe you'll like it.

Title: Macbeth (in Pitch Black) 

Writer: William Shakespeare

Performed by: London Contemporary Theatre

Major cast: Noel Andrew Harron, Louise Bereford, Samuel Clifford,  James Burgess, Andrew Chase,

Director: Kevin Williams

Seen at: Windsor Firestation

Other Info: toured in November. Shakespeare has written many things.

Review: I really like Shakespeare (as you might be able to tell from my fangirling over the internet), so when I saw this advertised at the Firestation, one of my favourite places,  I was intrigued because they say they’re doing it in the dark. Then I got told one of my major pieces of coursework would be on Macbeth, and I knew I had to see it.

When we got there, the lights were down low in the foyer of the theatre as well, because The Dark Room was playing too, and the bar and everything was lit with UV and glowsticks. Then we were shown down to the basement, which was scary, because somebody thought it was a good idea to get about 100 people down some stairs, lighting it only with two tiny lanterns where the stairs turn corners. We got there though.

Despite the title, it’s not all in pitch black. Certain scenes used lights of various kinds, such as “candles” for Lady Macbeth, lights in balloons for the feast, lights in trashcans for the witches, and torches for the end. The sudden lights were used effectively, only for major scenes; more plotty, wordy, less actiony scenes were left in the dark. Doing it all in the dark was a really interesting way of staging it. I think it really made you listen more to what was happening, and is a very different way of performing a play.

The cast are amazingly talented. There’s five people doing the whole thing. Ok, some roles were cut down and some were merged, but everyone bar Macbeth took on more than one role, using voice to differentiate. Also, how on earth did they manage to move around and get everywhere they needed to be without repeatedly falling over things? Witchcraft, I tell you.

It’s cut down a lot. They kept the major bits in, and cut down the wordier bits, and most of the angsty bit with Macduff. They updated it a bit, using phones in place of messengers and some other touches that put it firmly in the modern world.

I loved the staging of it. The Basement in the Firestation has a small stage at the front and the rest of the room is flat. The chairs were set out on the flat, and the stage was on the flat too, with chairs making an aisle down the stage and some more to the side. This set up was really good, especially as I was sitting on the side of the stage

Overall: Strength 5 tea to a unique performance of a much-done play.

Links: Company | Theatre

Book Review- Kissing Shakespeare by Pamela Mingle

Title: Kissing Shakespeare

 Author: Pamela Mingle

Series:  N/A

Published:  14 August 2012 by Random House

Length: 352 pages

Warnings: suggestive situations 12+

Source: Netgalley

Summary (abridged): Miranda has Shakespeare in her blood: However, after her disastrous performance in her school's staging of The Taming of the Shrew, Miranda skips the opening-night party. All she wants to do is hide.  Fellow cast member, Stephen Langford, has other plans for Miranda. When he steps out of the backstage shadows and asks if she'd like to meet Shakespeare, Miranda thinks he's a total nutcase. He wants Miranda use her acting talents and modern-day charms on the young Will Shakespeare. Without her help, Stephen claims, the world will lose its greatest playwright.  Miranda isn't convinced she's the girl for the job. Why would Shakespeare care about her? And just who is this infuriating time traveler, Stephen Langford? Reluctantly, she agrees to help, knowing that it's her only chance of getting back to the present and her "real" life. What Miranda doesn't bargain for is finding true love . . . with no acting required.

Review: Miranda has spent her life growing up with Shakespeare. So when Stephen, boy from her drama group, offers her the chance to travel back in time, meet William Shakesperae and keep him on a writing path. This leads to her taking on the disguise of Stephen’s sister, Olivia (but for purposes of continuity, she will only be known as Miranda throughout this review),  dodging religious fanatics of Elizabethan times, and as the title suggests, kissing Shakespeare

Time travel stories involving real people are always nice to read. I wasn’t sure if I’d love it, but the premise was interesting to fans of romance, historical, and Shakespeare alike.

It starts off really quickly, which is nice. We get an establishing scene of Miranda working playing Kate in her school’s production of The Taming of the Shrew, but it’s obvious that this isn’t the point. Miranda’s love for Shakespeare’s plays is revealed as we go further on, saving boring character building and working it into the plot.

It’s really fun how Miranda and Stephen have to try not to be discovered having dropped in from modern day America. Miranda’s reactions to actually being in 1581 are understandable, and even more understandable are Miranda’s actions when adjusting to life in the 14^th century and when she is told that she’ll be seducing Shakespeare. I wouldn’t want to be pulled back to a time when women are seen as possessions or suddenly be told to chat up my idol either.

Miranda develops a bit. She becomes more mature over the course of Kissing Shakespeare,  and a bit more interesting. The other characters are also good, Stephen and William especially. The other supporting ones are interesting, but not that great.

The plot is good, without being overshadowed  by the romance, even if that was part of the main plot. Shakespeare being tempted to join the church was a major part. It wasn’t all that interesting though. This is a rare book where I enjoy the romance more than anything else.

I found it really cute seeing Miranda and William work together on The Taming of the Shrew, with him telling her the early version and she telling him the lines that she’s learnt, hundreds of years later. This then creates an awkward paradox which, quite simply, makes my head hurt.  

There’s one scene in which Miranda goes off with Shakespeare, being fairly successful in her task of seducing William. And they get kind of on. and then he calls her Anne. Way to kill the mood. But it also is a nice bit of character building for him, especially as we know that he ends up marrying Anne Hathaway. It also furthers their relationship, as just friends. The romance between Stephen and Miranda is done nicely.

Overall:  Strength 3 tea to a book with good potential, but not amazing results.

Links: Amazon | The Book Depository | Goodreads | Author website |

Book Review: Falling For Hamlet by Michelle Ray

Title: Falling for Hamlet

 Author: Michelle Ray

Series:  N/A

Published:  5 July 2011

Length: 369 pages

Warnings: : Sex, drink and drug references, violence

Source: Library

Summary : Meet Ophelia: a blonde, beautiful high-school senior and long-time girlfriend of Prince Hamlet of Denmark. Her life is dominated not only by her boyfriend's fame and his overbearing family, but also by the paparazzi who hound them wherever they go. As the devastatingly handsome Hamlet spirals into madness after the mysterious death of his father, the King, Ophelia rides out his crazy roller coaster life, and lives to tell about it. In live television interviews, of course.

Passion, romance, drama, humor, and tragedy intertwine in this compulsively readable debut novel, told by a strong-willed, modern-day Ophelia.

Review: Hamlet is one of Shakespeare's better known plays. Here, Michelle Ray brings it right up to date, setting it in modern day Denmark. Ophelia is Prince Hamlet's girlfriend, also daughter of the King's trusted advisors. Then the king is killed under suspicious circumstances and Hamlet slowly goes mad. Surrounded by the royal family and the press, Ophelia's options become more and more limited, and her life starts edging away from normality.

As Hamlet is one of my favourite Shakespeares, I couldn't wait to see how this would be put together. Michelle Ray has taken the major points of the play, and the best known speeches, and brought them up to date for modern readers.

In the author notes, she says how hard it was updating some parts, like the To Be or Not to Be. I agree with her in that it would be quite clunky if said aloud, and I like how she pulled it off in the end. Other speeches, such as Laertes' violet in the youth  of primy nature one, were also modified but kept recognisable.

Ophelia has a new dimension built into her, as well as the crazy girl we see in the original. Having a book more devoted to her lets us explore her character more, which Michelle Ray has done very well. She has a group of friends outside the palace, and is also possibly falling a little in love with someone other than Hamlet. Horatio too we see a lot more of, as in this, he,  Ophelia and Hamlet all have known eachother for a long time.

I love the way that some scenes were played out, for example the get thee to a nunnery one being played out in public in a limo. And there were some things I’d have never expected, such as the big scene in which the majority of the royal family is killed off, being played at a lacrosse match, which I didn’t think would work but somehow it did.

Overall:  Strength 5 tea to a great retelling of one of my favourite stories. I really hope Michelle Ray retells another Shakespeare story.

Links:  Goodreads | Author website |