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My reading list is full of Shakespeare, and who am I to see a bandwagon and not jump?

All's Well That Ends Well - neither seen nor read

Antony and Cleopatra
- studied for A-level. Saw the Talawa Theatre Company's all-black production at the Bloomsbury Theatre in 1991, which seemed to go on for several years.

As You Like It - studied at university, saw an RSC production a few years ago.

The Comedy of Errors - this was the play some friends of mine took to the Fringe in 1995, just after we'd graduated from university. I saw the original production in Warwick Arts Centre and went up to Edinburgh to lend moral support, hang out, drink too much, smoke too much and eat junk food. Possibly the only production of Shakespeare ever to include a character saying "And your little dog too!" in the style of the Wicked Witch of the West, though I wouldn't place bets on that.

Coriolanus - studied at university; RSC in 1994 with Toby Stephens, and Ralph Fiennes's film version.

Cymbeline - RSC production a couple of years ago with a female Cymbeline and a definite eye to Brexit in the interpretation.

Hamlet - studied at university; RSC productions with David Tennant and Paapa Essiedu, Olivier's film and a very gory production with a tiny cast at (IIRC) Basingstoke Technical College in the 1980s, which was the first Shakespeare I ever saw. I also stage-managed an all-female production when I was at university, my one and only venture into theatricals.

Henry IV, Parts I and II - RSC with Antony Sher as Falstaff

Henry V - RSC, following on from the Henry IV plays; also the Olivier and Branagh films

Henry VI, Parts I, II and III - neither seen nor read

Henry VIII - neither seen nor read

Julius Caesar - pretty sure I studied it at university, and saw an RSC production a few years ago.

King John - neither seen nor read

King Lear - studied at university; RSC production in 2010

Love's Labour's Lost - neither seen nor read

Macbeth - studied for GCSE and at university. Have seen the Roman Polanski film and the recent version with Michael Fassbender and Marion Cotillard, the livestream of the recent RSC production with Christoper Eccleston and a touring production with James Bolam in Farnham, Surrey in 1989.

Measure for Measure - neither seen nor read

The Merchant of Venice - saw an RSC production with Patrick Stewart as Shylock a few years ago

The Merry Wives of Windsor - neither seen nor read

A Midsummer Night's Dream - studied pre-GCSE and at university; saw a (very good) amateur production at my sixth form college and a 1994 RSC production with Alex Jennings and Hadyn Gwynne, among others,

Much Ado about Nothing - studied at university, I think; I've never managed to see a live production but have seen the Kenneth Branagh and Joss Whedon films.

Othello - studied at university; have seen livestreams of the National Theatre production with Adrian Lester and Rory Kinnear (except that the cinema's power went during Act 5, Scene 1, leaving us all on tenterhooks about whether or not Othello and Desdemona would be able to work things out) and the 2015 RSC production which had the first black Iago.

Pericles, Prince of Tyre - neither seen nor read

Richard II - saw the RSC production with David Tennant

Richard III - have seen the Ian McKellan film

Romeo and Juliet - fell asleep while attempting to watch the Baz Luhrmann film while off work sick in about 1999, never seen another production or read.

The Taming of the Shrew - studied for A-level and at university, saw an RSC production a few years ago which I wasn't particularly impressed with.

The Tempest - studied at university; saw the 2009 RSC production with Antony Sher and the livestream of the more recent one with Simon Russell Beale.

Timon of Athens - neither seen nor read.

Titus Andronicus - studied at university; never seen.

Troilus and Cressida - studied at university; never seen.

Twelfth Night - studied for GCSE and at university; saw a 2007 RSC production with John Lithgow as Malvolio and the livestream of the National Theatre production with Tamsin Greig. We also watched a BBC Shakespeare for Schools version with Joan Bakewell, not normally known as a Shakespearean actor, doubling Viola and Sebastian, when I was at school.

Two Gentlemen of Verona - neither seen nor read.

The Winter's Tale - studied at university; saw the livestream of Kenneth Branagh's 2015 production which I didn't think much of (a bit twee, really)

That is actually more than I thought. We managed quite a lot of RSC productions over the years, until they bumped the prices up to the level where a Saturday matinee would set us back over £100 once we'd factored in the parking (without even the petrol) and we switched to livestreams instead.

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Recent RSC price rises have meant that we're more inclined to watch the live broadcasts at the Picturehouse than to go to Stratford, but I got an email last week offering £15 tickets for Cymbeline and, as I'd got the week off work anyway, we decided to return our cinema tickets and go to this afternoon's matinee instead.

I didn't know the play at all beforehand. The plot felt like something of a mash-up of elements from other plays; the jealousy plot from Othello, the faked death being mistaken for real from Romeo and Juliet, cross-dressing, long-lost siblings. I'd always thought it was a tragedy, but although the production featured a fair amount of gore there were surprisingly few deaths, and the ending was much closer to that of a comedy, with lovers reunited, lost children restored to their true heritage, general celebration and rejoicing. It did feel rather as though Shakespeare was phoning this one in; definitely more of a curiosity than a sadly neglected classic, I'd say.

The production was very much played for laughs, particularly bawdy ones, as well as for gore and brutality (within the confines of a stage production, some of the violence was still quite shocking). Visually, the look was definitely aiming for near-future dystopia, with the British in patchworks of tweed and denim (and Cymbeline herself in Ugg boots and a long patchwork cardigan a lot of the time) and the Romans in military uniforms and sunglasses, while the set featured graffiti and a decaying-industrial-landscape vibe for Britain (for me, it very much caught the aesthetic that Gwyneth Jones's Bold As Love series suggests) and a sleek nightclub atmosphere for Rome. The non-British characters also spoke at least some of their lines in non-English languages, reinforcing their differentness; the Romans, obviously, spoke Latin, Iachimo spoke Italian and the French character French, with the English originals projected onto the backdrop.

Apart from the translation, the text was also changed to allow for the fact that several of the parts were gender-swapped; in this version, Cymbeline is a queen rather than a king, and her scheming spouse is a Duke rather than a fairytale-style wicked stepmother, while the elder (and bloodthirstier) of the two long-lost children is a daughter rather than a son. I felt this did interesting things to the dynamics of the play; apart from the fact that if Cymbeline had been a king it would have seemed a lot more reminiscent of King Lear, it replaces the standard trope of the woman scheming for the advantage of her own child over her stepchildren with a man trying to bring down a powerful woman. Meanwhile, the men mainly seem to be Terribly Poor Stuff, especially Posthumus who not only lets Iachimo talk him in to a stupid bet but believes the lies he is told in return; Iachimo, this one at least, is no Iago and his manipulation doesn't come across as particularly subtle, while the reelvant lines from Ovid are projected on the backdrop when he mentions the story of Philomel, in case anyone in the audience wasn't aware of what was being referenced. It felt like quite a feminist reading of a play which could easily have been anything but.

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