The new home of The Bardathon
This is the new home of The Bardathon, Peter Kirwan’s review blog of contemporary film and stage productions of early modern drama. The blog began in April 2006, as part of a project to chronicle responses to all fifty-four productions in the Royal Shakespeare Company’s Complete Works Festival. Since then, the blog has continued as Peter’s record of all of the stage and screen productions of early modern plays, as well as adaptations and responses, that he has seen.
The blog aims to combine the rapid-response turnaround of theatre journalism with the reflection and insight of scholarly criticism, as part of Peter’s ongoing practice-based research into methods of writing about the contemporary performance of early modern drama. The blog is inevitably partial, with the primary focus on UK productions between 2006 and 2022, and acts as a form of diary of one reviewer’s experience over years of theatregoing.
The blog is used as a resource by researchers and teachers around the Globe, and was hosted by the University of Warwick (2006-2011) and the University of Nottingham (2011-2022) in previous iterations. Please feel free to comment on the reviews, and to get in touch with thoughts and feedback!
Shakespeare: All’s Well that Ends Well, Antony and Cleopatra, As You Like It, The Comedy of Errors, Coriolanus, Cymbeline, Hamlet, 1 Henry IV, 2 Henry IV, Henry V, 1 Henry VI, 2 Henry VI, 3 Henry VI, Henry VIII, King John, Julius Caesar, King Lear, Love’s Labour’s Lost, Macbeth, The Merchant of Venice, The Merry Wives of Windsor, A Midsummer Night’s Dream, Much Ado about Nothing, Othello, Pericles, Richard II, Richard III, Romeo and Juliet, Sir Thomas More, The Taming of the Shrew, The Tempest, Timon of Athens, Titus Andronicus, Troilus and Cressida, Twelfth Night, The Two Gentlemen of Verona, The Two Noble Kinsmen, The Winter’s Tale
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