Written for Everything Theatre

With the Bard’s birthday long past, the excitement about Shakespeare’s 400th anniversary this year seems to have calmed down a little bit. The perfect time, then, for someone to take a hard look at our collective fascination with The Complete Works of Will. That someone is storyteller and comedian Robert Crighton, whose new show Undead Bard will be playing at Theatre N16 next month. We caught up with him to talk about bardolatry, Shakespeare tax and, um… William the zombie standup comedian. 

A while ago, I got out my beige overalls and went ghostbusting for London Calling. Well, more or less... Read all about it here:

In conversations about visiting the theatre, I've often realised that a lot of people are unaware of the facilities that are available for people with access needs. This is my own (tiny) attempt at increasing that awareness:

London's theatre history... there's a lot of it. I found out what you can still see of it today, and tried to explain some of the most important bits in the process. In about 700 words. You can see how successfull exactly I was at:

Written for Everything Theatre

Reading Dominic Cooke’s CV is quite the lesson in modesty. He was associate director at the Royal Shakespeare Company, where he won an Olivier Award for his production of The Crucible. Under his artistic leadership the Royal Court staged Jez Butterworth’s Jerusalem and promoted emerging talents such as Penelope Skinner and Mike Bartlett. These days he’s an associate director with the National Theatre, where he directed the revival of Ma Rainey’s Black Bottom that has just won him his second Olivier. New horizons obviously beckoned, so, later this week, Cooke fans and novices alike will be able to witness his first foray into television. Hollow Crown: The Wars of the Roses is the follow-up of the successful 2012 BBC series, and we spoke to Cooke to find out more about the differences between theatre and telly, directing Shakespeare and, of course, working with Benedict Cumberbatch.