Twelfth Night

Young Shakespeare is forced to stage his latest comedy, "Romeo and Ethel, the Pirate's Daughter," before it's even written. When a lovely noblewoman auditions for a role, they fall into forbidden love - and his play finds a new life (and title). As their relationship progresses, Shakespeare's comedy soon transforms into tragedy.

Striving to be like all the high-class dogs in their fine coats, a little hairless pooch borrows a black and white fur coat of her owner, not realizing it makes her appear to be a skunk. Once she has it on, she finds everyone fleeing from her - everyone, that is, except for the amorous Pepé Le Pew.

Old Mother Riley falls into money so goes to Paris, where she is mistaken for a spy.

Shop owner Alice Chapman is nervous to meet her future in-laws at Christmas, especially because she is arriving ahead of her new fiance Will Mitchum. Alice's trip becomes more stressful when her luggage is lost and her phone is damaged, leaving her no way to find Will's family!

Longtime school sweethearts discover married life, thanks to a disagreeable live-in mother-in-law and pressing business obligations, is more rocky than idyllic.

Two households, both alike in dignity, in fair Verona, where we lay our scene. Through the modern lens of equality, Romeo and Juliet change on screen.

The Graham Vicks production of FALSTAFF opened the new Covent Garden Royal Opera House, and was not to everybody's taste; the garish primary colours of the costumes. The staging is effective-the complicated counterpoint of the ensembles is reflected in unobtrusive blocking that keeps the vocal lines clear and separate, especially in the final fugue. Bryn Terfel's Falstaff is a memorable creation, self-mocking and self-aggrandising at the same time-so much so, in fact, that he almost does not need the vast prosthetic body he has to wear for the part. Desiree Rancatore is an admirably sweet-toned Nanetta; Bernadette Manca di Nissa an appropriately sardonic Mistress Quickly; Roberto Frontali as Ford, in his Act 2 scena, perfectly distils and parodies every jealousy aria ever written, including Verdi's own. Haitink's conducting is exemplary in the lyrical passages, gets almost everything out of the fast and furious comic sections.

An adaptation directed by Claude Whatham for the BBC's Theatre 625 slot. Essentially a recording of John Barton's acclaimed Royal Shakespeare Company production starring Catherine Lacey (the Countess), Ian Richardson (Bertram), Lynn Farleigh (Helen), Clive Swift (Parolles) and Sebastian Shaw (the King), it was broadcast on 3 June 1968.

After the overthrowing of Duke Senior by his tyrannical brother, Senior's daughter Rosalind disguises herself as a man and sets out to find her banished father while also counseling her clumsy suitor Orlando in the art of wooing.

The film is a contempary-set version of William Shakespeare's play As You Like It.

One of the earliest hits for the newly established RSC, Michael Elliott’s sparkling version of Shakespeare's comedy is still remembered with joy by a generation of theatre-goers. The design was dominated by a huge oak tree, but the production is most memorable for Vanessa Redgrave’s luminous Rosalind, supported by Max Adrian and Ian Bannen.