RSC's Radical Musical Interrogation of Shakespeare's Problematic Women
The Royal Shakespeare Company has unleashed a provocative and thrilling musical interrogation of its own repertoire with All Is But Fantasy, currently captivating audiences at The Other Place in Stratford-upon-Avon. Whitney White's innovative gig-theatre production doesn't merely perform Shakespeare's works but actively questions their enduring appeal and problematic gender dynamics through a contemporary musical lens.
A Quartet of Shakespearean Women Reimagined
White, serving as writer, composer, and performer, takes on four of Shakespeare's most iconic characters with a critical eye. She begins with Lady Macbeth, reimagining her not as a villain but as a woman navigating the only path to power available in her patriarchal world. The production then moves to Emilia from Othello, where White's creation gains real analytical teeth, examining female solidarity and the troubling reproduction of violence against women on stage.
Juliet follows, with White reluctantly embodying a role that has never felt authentically hers while questioning the romanticised version of youth and star-crossed love that Romeo and Juliet has bequeathed to modern culture. Finally, in a bold move, White abandons suffering female characters altogether to claim one of Shakespeare's most villainous male roles: Richard III. This transition prompts the audience to question whether adopting masculinity truly represents liberation or merely another problematic solution.
Musical Brilliance and Ensemble Excellence
The production's intellectual questioning is elevated by its exceptional musical execution. Each character receives a distinct musical signature – rock for Lady Macbeth, blues for Emilia – creating a rich tapestry of sound that transforms what could be a dry academic exercise into an emotionally resonant experience. The ensemble, including Renée Lamb, Georgina Onuorah, and Timmika Ramsay as the shape-shifting chorus of witches, delivers performances of remarkable versatility and power.
Daniel Krikler provides the constant male presence as the ever-present "he" to White's "she," while Juliette Crosbie represents the traditional casting that will forever claim certain Shakespearean roles. The onstage band supports these vocal performances with musical arrangements that feature refrains and echoes across the four parts, creating a cohesive musical journey through Shakespeare's problematic canon.
Questioning Shakespeare's Timelessness
White's most compelling intervention challenges the conventional wisdom about Shakespeare's timelessness. Rather than celebrating how these works transcend their era, she asks what their continued popularity says about our contemporary society. Why, she implicitly questions, do modern audiences still enthusiastically consume stories where "sexy men kill sexy women"? This production refuses to provide easy answers, instead leaving audiences to sit with their discomfort and carry these questions into future encounters with Shakespeare's works.
The show occasionally circles similar questions, risking repetition in its analytical approach. However, this potential limitation is mitigated by the interrupting voices of other performers, who add complexity and prevent any single perspective from dominating. The production successfully problematises itself even as it problematises Shakespeare, creating a multi-layered theatrical experience that is as intellectually rigorous as it is musically thrilling.
All Is But Fantasy represents a significant moment for the RSC, demonstrating the company's willingness to engage critically with its foundational texts. By programming this production, the institution acknowledges the problematic elements within Shakespeare's works while celebrating their musicality and enduring power. The result is a production that doesn't explode Shakespeare so much as carefully, thoughtfully needle at his legacy, asking uncomfortable questions that resonate long after the final musical note has faded.
The show continues its run at The Other Place in Stratford-upon-Avon until 21 February, offering theatregoers a rare opportunity to experience Shakespeare through a contemporary, critical, and musically brilliant lens.
