The Shakefest Theatre Festival, held throughout August at the Old Red Lion in Islington, north London, offered audiences a dynamic and contemporary exploration of Shakespeare’s works. Established in 1979 as a pub theatre, the venue has hosted numerous notable productions over the years and during Shakefest, it transforms into a vibrant hub reminiscent of the Edinburgh Fringe Festival, featuring a diverse lineup of performances marked by innovation and youthful energy.

One standout production was Nevermind’s bold reinterpretation of *Pericles*, a musical that both deconstructs and reimagines the narrative of Shakespeare’s lesser-known play. Created by recent graduates of the Bristol Old Vic Theatre School, the company approached the fragmented plot with humor and inventiveness. They highlighted the play’s ambiguous storytelling by emphasizing the multiplicity of voices vying for center stage. The cast, primarily women outfitted in period-inspired white ruffs and corsets, shifted between roles as prostitutes, pirates, and feminists, underscoring the production’s playful yet pointed commentary. The performance featured continuous music by an onstage keyboardist, with original book, lyrics, and score by Hollie Hurrell, James Hancock-Evans, and Rafael Solimeno-Harris. Among the highlights were lively numbers such as “We’re Having a Joust,” where actors mimed horse-riding with rubber horse heads strapped to their wrists.

In contrast, Sophie Todd’s *Perdita*, also performed at the Old Red Lion, focused on the life of Mary Robinson, an 18th-century actress who achieved celebrity status through both her stage work and her association with the future George IV. Robinson’s story, though documented in biographies, remains less recognized in the modern theatrical canon. Todd’s play traverses Robinson’s tumultuous life—including her relationships with powerful figures, her literary endeavors, imprisonment for debt, and advocacy for women—portraying her as a complex figure ahead of her time. The production was performed by a small cast of three who took on multiple roles, including scenes depicting Robinson’s husband and a dominatrix figure. While energetic, the staging occasionally struggled to fully convey the depth of Robinson’s legacy within the intimate performance space.

Shakefest offered a compelling mix of irreverence and historical reflection, challenging traditional presentations of Shakespeare and related figures. Through inventive musical adaptation and biographical drama, the festival invited audiences to reconsider both the Bard’s works and the often-overlooked lives connected to his legacy, continuing the Old Red Lion’s tradition of fostering experimental and thought-provoking theatre.