Poonperm Paitayawat

Hytner makes a shrewd directorial choice to modernise Jean Racine’s 17th century classic tragedy and tackles it as a psychodrama.

There are some glimmers of directorial genius—Dunster triumphs when tackling the play’s sombre moments—but that, alone, is not enough to save the show.

Can a Shakespearean play work without Shakespeare’s language? Pawel Szkotak proves so in his nightmarishly perverse adaptation of Macbeth.

What else could be more representative of this transatlantic project than Sam Mendes relocating Sicilia and Bohemia to England and the US in the 18th century?