Thank you for visiting our archive. Each performance submitted to our website will be explained in detail in its own blog post. You can choose to look through these posts in a variety of ways.
“Nature versus nurture? Are villains born or bred? Can they ever find true redemption? Theater OCU explores Shakespeare's most villainous characters - Macbeth, Iago, Aaron, Tamora and Lady Macbeth - and asks the question: what is bad Shakespeare?” --description from Fringe programme
This exploration of Shakespeare's villains focused on, among others, Macbeth and Lady Macbeth, Iago, Tamora and Aaron, and Angelo from Measure for Measure.
Read MoreTwo versions of Shakespeare's gory masterpiece, performed in two wildly different styles
Read MoreAll 74 on-stage deaths from Shakespeare's oeuvre realized in physical comedy by four actors. With a LED-display counter monitoring the 75 deaths (they include the fly in Titus Andronicus) and propelling the action to the zero, The Complete Deaths is a fast-paced and entertaining tribute to the tragic ends of so many of Shakespeare's characters.
Read More“Treating Shakespeare's bloodiest play as though it were written today.”—blurb from the company website
Read More“A salt and pepper pot for the king and queen. A vase for the prince. A matchbox for the servant. A toilet roll tube for the Innkeeper. A water bottle for the messenger.
In Complete Works six performers create condensed versions of each and every Shakespeare play, comically and intimately retelling them, using a collection of everyday objects as stand-ins for the characters on the one-metre stage of an ordinary table top."
Savage and sublime, brutal and beautiful, this blackly comic revenge story is told in extremes. General Titus Andronicus returns victorious from battle with the prisoners Queen Tamora, her lover, and her sons. Despite Tamora’s pleadings, Titus hands over her eldest son for sacrifice and sets in motion a cycle of violence that races to a vicious conclusion. Yet among the bloodshed are moments of profound humanity in the anguish and loss felt by both families, illuminating the senselessness of “eye for an eye” retribution.
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This research was supported by the Social Sciences and Humanities Research Council of Canada
