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Review – The Complete Works of William Shakespeare (Abridged)- Aurora Theatre 27-5-17

Pursuing perfection may be difficult. Pursuing comedy may be harder. But writing a review about a play as deliriously madcap, comically adept, and audience-engaged as The Complete Works of Shakespeare (Abridged) – if not equally daunting – is formidable enough.

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Preview- The Light Dragon- Shakespeare 4 All5-4-17

Shakespeare4all is proud to present The Light Dragon which will show at the Yuen Long Theatre from April 28 to April 30. Directed by resident artist Joshua Wolper, The Light Dragon brings together the past and the present, fantasy and reality, theatre and motion pictures.

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Preview- The Two Gentlemen of Verona- Shax Theatre Group6-4-16

Hardcore Shakespeare fans can often get bored by seeing the same favorites tread the boards over and over again. I mean, let's think about many productions of Romeo and Juliet we are subjected to yearly?

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Review- Macbeth- Hong Kong Arts Festival20-3-16

In the accompanying programme for Tang Shu-wing's Macbeth, the director suggests that 'Shakespeare is a journey into the unknown', and that it can be. Shakespeare is rich in motifs, language and characterisation and for these reasons many productions can fall prey to the weight of Bards work. Tang Shu-wing, however, has brought a fresh approach to his production of Macbeth.

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Hamlet...14-2-16

What!? There were no autopsies in the Medieval era?

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Preview- The Tempest- Shakespeare in the Port13-4-15

We are such stuff as dreams are made on. It sounds romantic and is one of Shakespeare’s most inviting lines. The Bard’s work is able to connect people from all over the world through timeless stories, Shakespeare in the Port is working with up and coming director, Aska Leung to create a physical theatre version of The Tempest that should enchant both Chinese and English speaking audience members. “It may be some Western audience but we can use our body to tell story… We shall overcome…” says Aska.

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Preview- Lear- Shakespeare in the Port12-4-15

Shakespeare in the Port’s tagline for this year has been “The Storm is Coming…” With producing Lear, which has an iconic storm moment on an outdoor stage, are they strategically planning for rain fall or daring the heavens to open up? Shakespeare in the Port is Hong Kong’s answer to its lack of accessible, outdoor theatre. Built of similar concepts of Singapore’s, Tokyo’s and NYC’s Shakespeare in the Park, it builds it self on three mission statements. Accessible, Affordable and Entertaining theatre for all. They even avoid traditional funding schemes by raising their capital upfront on a crowdfunding platform with discount tickets for fans and friends.

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Shakespeare in the Port Returns to HK6-2-15

After attracting over 2,000 people last year to a positive debut, Shakespeare in the Port is back again this April for another festival of outdoor theatre. This year, the main stage shows are promised to be bigger and better with two of the Bard’s famous comedies, The Tempest and A Midsummer Night’s Dream, to balance a hefty tragedy King Lear. Not only is the selection increased, this year’s productions are bilingual and will feature different theatre styles. The Tempest directed by Aska Leung is a physical theatre production in Cantonese; Midsummer is adapted for kids; and King Lear directed by Ben Margalith is an adapted English production with a Queen at the heart of its tragedy.

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Preview-An Evening with the Bard-HKPFF4-11-14

Shakespeare has been put through the wringer every which way over the centuries – but the mangle has been rolled out big time for this year’s HK People’s Fringe Festival.

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Review-Dunsinane-National Theatre of Scotland and RSC4-5-14

David Greig’s ‘Dunsinane’, as a self-conscious sequel to ‘Macbeth’, is a revisionist tale of a revisionist tale. First produced in 2010, it draws clear parallels with Britain’s occupations of Iraq and Afghanistan as well as the burgeoning push for an independent Scotland. 4 years on, with the Scots poised to referend their separatism and Britain’s further intervention in Syria (for now at least) averted, this production’s tour of China seems timely in asking what lessons we can learn from history and the shifting sands of our collective memory on which history sits.

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