Drawing: Flora Spencer-Longhurst, William Houston and Indira Varma in Titus Andronicus at Shakespeare’s Globe

Titus Andronicus

Shakespeare’s Globe opened its 2014 summer season with a revisiting of Lucy Bailey’s hugely successful Titus Andronicus.

Audience members were warned in advance of its grisly content with the offer of witnessing one of the darkest and most seminal productions in the Globe’s history. In the height of summer in 2006 dozens of people who bought standing tickets fainted each show. Fainting isn’t exactly uncommon amongst Globe groundlings (£5 standing ticket holders) so, “our front of house staff are very well trained,” said a Globe spokesperson.

Grotesquely violent and daringly experimental, Titus was the smash hit of Shakespeare’s early career, “written with a ghoulish energy he was never to repeat. “It stars William Houston as the unstable Roman general Titus and Indira Varma as the haughty Goth Queen Tamora in what one critic described as ‘Tarantino-esque’.

Playing Lavinia, Titus’s daughter, actress Flora Spencer-Longhurst has her tongue and hands cut off after she is raped. “Despite my character having her tongue ripped out, it is the most articulate role I have ever played!” she told The Daily Mail.

On one particular evening alone it was reported that five people had fainted. The Independent’s Holly Williams wrote, “A confession: I fainted. I’m not alone. Audience members are dropping like flies at this revival of Lucy Bailey’s infamously gory 2006 staging.”

Escaping the bloodshed on Saturday for the final performance, I dodged raindrops and left this sketch at the stage door, which Williams, Indira and Flora kindly signed for me, without spilling a drop of red stuff on it.

Drawing: Tom Hiddleston in Coriolanus at The Donmar Warehouse

Tom Hiddleston

I remember meeting Tom Hiddleston at the UK premiere of Joanna Hogg’s Archipelago at The Vue Cinema in Leicester Square. It was in competition for the BFI London Film Festival and a twilight screening, but certainly the dawn of Tom’s career.

Sandwiched between two ‘bigger’ films that attracted large crowds, Archipelago only had a sprinkling of attendees – most of them curious tourists. Tom went unnoticed.

He was already an accomplished stage actor, with two Olivier Award nominations and in fact won one. But I recognised him from the poster and one of the PAs confirmed it “oh yes, that’s Tom Hiddleston, he’s going to be a big star one day. I’ll call him over, if you want his autograph.” So he did and Tom duly obliged. His long moniker took time, even with his speedy style!

We joked that he may have to shorten it when he becomes really famous and having to sign zillions for premiere crowds. Well, the PA was right. He is now a global superstar, thanks to roles such as Loki in Marrel’s Thor series and his signature varies wildly, depending on the moment. But I still have one perfectly formed, every letter (well almost) visible.

Fast forward to the quaint 350 seat Donmar Warehouse in Covent Garden. Tom is in the title role of Shakespeare’s Coriolanus, directed by Josie Rourke. Seventy performances, eight shows, a week of physically and mentally demanding play. He is bruised, battered and scarred! Critics loved him, “Tom Hiddleston has blazing stellar power… magnificent,” wrote the Independent. His fans adored him.

They gathered by their hundreds, covering both exits in a nightly vigil. Tom would come out under tight security, sign for a few and then quickly leave. I didn’t have a hope. I left a sketch at the theatre, but it was only one piece of mail among thousands for the ‘man of the moment’.

He was nominated for an Olivier Award so I managed to secure a spot at the Royal Opera House, dominated by Tom’s fans. He even signed down my side, but it was bedlam and the sketch went unnoticed in a sea of items wanting his sig, which had reduced to some quick scribble.

Plan C, Canada. I found out he was still shooting Guillermo del Toro’s Crimson Peak at the Pinewood Studios in Toronto. I packaged up the sketch and mailed it, and set about formulating Plan D. To my surprise, it arrived in the post yesterday. Tom had also written his line from the scene (3.2.14)  – “Rather say I play the man I am.”

Plan D was shelved.

Drawing: Adrian Scarborough in King Lear at The National Theatre

Adrian Scarborough

Adrian Scarborough is currently playing The Fool in Sam Mendes “magnetic and unorthodox” production of King Lear, in repertory on the vast Olivier stage at the National Theatre in London. His “lovely-melancholy” turn has garnered rave reviews as Lear’s beloved Fool who batters to death in what the Times called “a startling innovation”.

“His death in a bath tub is sudden and shocking, an example of the coin spin between comedy and tragedy that Mendes manages so well,” said critic Tom Wicker.

Equally at home on both stage and screen, Adrian has appeared in films such as The Madness of King George, Vera Drake, The History Boys, Gosford Park, The King’s Speech and Les Miserables. On the smaller screen he has featured in Gavin and Stacey, Upstairs Downstairs and even an episode of Dr Who.

Adrian was nominated for two Olivier in 2011 for Best Actor in a Supporting Role in the National’s Revival of Terence Rattigan’s After the Dance.

King Lear runs until 2 July 2014.

Drawing: Paul Chahidi as Maria in Twelfth Night

paul-chahidi

Twelfth Night is one of Shakespeare’s most beloved comedies. It was performed by an all-male cast in ‘original practice’, with the set, costumes, music and dances all inspired by the original staging of Shakespeare’s plays in the Elizabethan era at the Globe. In repertory with Richard III, both productions transferred to the Apollo Theatre in November 2012 in November 2012 until February the following year, and then transferred again to Broadway.

Paul Chahidi plays the scene stealing, witty, imperious maid Maria in Twlefth Night, in tandem with the brilliant Mark Rylance as his “mistress” Olivia.

He has to don six layers of women’s clothing, porcelain makeup and a ‘helmet’ hair piece, for the gender bending performance.

In his Broadway debut Paul secured his first Tony nomination this week for the role. He was also nominated for the Olivier in 2013.

He is currently in James Graham’s new play Privacy at the Donmar until the end of May 2014, where I met the charming actor after Thursday’s matinee and he loved the sketch. Which he happily signed. Good luck for the Tony’s!

Drawing: Tamara Rojo in Romeo and Juliet

Tamara Rojo

This is the second sketch of Tamara Rojo, The English National Ballet’s principal dancer and artistic director, signed for me this month. She is reuniting with Cuban star Carlos Acosta for the classic romantic tragedy Romeo + Juliet, (which they last performed in 2011 for the Royal Ballet) at the Royal Albert Hall in June 2014.

Drawing: Jessie Buckley in The Tempest at Shakespeare’s Globe

jesse buckley

Irish singer and actress Jessie Buckley made her Globe debut in April 2013, playing “a tomboyish” Miranda opposite Roger Allam‘s “delicatedly handled” Prospero in The Tempest. The Bard’s last great masterpiece with a modern twist.

Described as “an ambiguous but magical production of Shakespeare’s problem play”. The Stage reviewer Catherine Usher said Jessie’s “energetic, rebellious, vaguely feminist Miranda is very enjoyable.”

Jessie signed my sketch, which I left at The Globe and wrote me a lovely note, appreciating my support and the rendering.

Drawing: Olivia Vinall in King Lear at the National Theatre

Olivia Vinall

One of the brightest new stars shining on the London stage is 25 year old Olivia Vinall. Less than four years after graduating from Drama Studio London she has played three of Shakespeare’s iconic female roles – a path probably predicted in the stars given she was named after one of the Bard’s other famous females – Olivia in Twelfth Night.

Presently portraying Cordelia in the National Theatre’s King Lear, opposite the legendary Simon Russell Beale, she was Desdemona in Othello (also at the National) with Adrian Lester and Rory Kinnear and Juliet in Romeo and Juliet at the Leicester Square Theatre. Nominated for both an Evening Standard Theatre Award and a WhatsOnStage Award for her role as the Venetian beauty who tragically elopes with the older Othello.

Olivia also features in the National’s 50 Years On Stage Celebration with the current theatrical greats. I had the pleasure of meeting the delightful thespian after her Saturday afternoon performance, when she signed this sketch.

Drawing: Simon Russell Beale in King Lear at The National Theatre

Simon Russell Beale King Lear

I’m constantly drawn to Simon Russell Beale. I’ve sketched him on a number of occasions and will continue to do so. He’s an artist’s dream with such an expressive, animated face. He’s currently performing on the vast Olivier stage at the National Theatre in Shakespeare’s King Lear, directed once again by Sam Mendes.

“Simon’s great art is that he can take a role and turn it until it catches the light. Sometimes he only turns it tow degrees and bang,” Sam is quoted as saying.

It renews a long creative partnership between the two, beginning at the RSC in 1990 with Troilus and Cressida. It has included all the Bard’s greatest roles, but Lear is possibly the big one. It is the seventh Shakespeare play on which Simon has worked with Sam.

He’s an unorthodox Lear as a Stalinesque tyrant, dividing his Kingdom amongst his three daughters. It’s been in the frame for the best part of a decade and finally realised in this extraordinary epic. It’s not Simon’s first Lear, however. He did perform the role as a 17 year old schoolboy at Clifton College.

Simon signed this sketch after the Saturday performance. There are so many other renderings waiting in the wings, given the vast emotional arc he uses to portray the tragic monarch. Watch this space.

Drawing: Simon Callow in Being Shakespeare

Simon Callow

One of Britain’s finest actors, Simon Callow brought his acclaimed one-man show Being Shakespeare back to London for a strictly limited season at the Harold Pinter theatre. Written by Jonathan Bate and directed by Tom Cairns, the show ran for 23 performances, finishing last night (15 March 2014).

The production returned following two successful runs in the West End. The Guardian’s Michael Billington described it as “a memorably multidimensional picture of Shakespeare steeped in scholarship and love”. Simon brings to life the Bard’s unforgettable characters and the real man behind the legend.

2014 marks the 450th anniversary of the birth of the world’s greatest playwright.

Drawing: Eve Best and Charles Edwards in Much Ado About Nothing at The Globe

Best:Edwards

Eve Best and Charles Edwards played the perfect Beatrice and Benedick in Shakespeare’s 1599 comedic play Much Ado About Nothing at the Globe in mid 2011, signing my quick biro sketch with a thin red fineliner