UCLU Drama Society poster

It’s complicated, but bear with me. Here are some concentric circles of theatre: Rosencrantz and Guildenstern Are Dead  is a 1966 play by Tom Stoppard. Rosencrantz and Guildenstern are characters from The Tragedy of Hamlet, Prince of Denmark (but you can just call it Hamlet because everyone does) written somewhere between 1599 and 1602, maybe.

From 20 February to 22 February, the UCLU Drama Society performed a production of the play by Stoppard containing the elements of Hamlet as they appear in both original texts, but adapted and modernised to an extent, appearing without full Elizabethan costumes or set.

Amid these elements, the direction of Rob Beale found something that approached a fresh take on representing the void at the heart of the play.  (more…)

What does it take for a foreign language playwright to become an ‘honorary British dramatist’? What is the difference between a translation, an adaptation and a version? Theatre-lovers and the generally curious enjoyed the chance to ponder these questions at a talk on translation on the London stage by Dr Geraldine Brodie on 7 May, the first day of UCL’s inaugural Festival of the Arts.
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Dear All,

Last night, I went to the Bloomsbury Theatre to see the UCLU Drama Society’s production of Much Ado About Nothing.

It was with much trepidation that I settled down to watch with my friend in the modern theatre (with ample leg room), as earlier this year I had seen the West End version and assumed that the amateur production would not compare. I am pleased to report, however, that although the special effects could not compete (the one literally shaky moment being when an arch fell over) the acting would certainly not have been out of place in the West End.

At times, it exceeded expectations and of especial note was the Prince’s Guard who had either taken it upon themselves or been directed to act camp, which added a further dimension of hilarity to this side plot.

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