All 37 plays. Three actors. One wildly funny show.
The worldwide comedy hit returns with a brand-new, updated version of The Complete Works of William Shakespeare (abridged), a fast, furious and gloriously absurd sprint through all of the Bard’s tragedies, comedies and histories.
Expect Hamlet performed backwards, Titus Andronicus as a YouTube cooking tutorial, and all of the History plays turned into a chaotic football match where the crown is kicked from king to king. Throw in lightning-fast costume changes, sword fights, outrageous improvisation and the result is a wildly inventive and hilarious celebration of Shakespeare.
After nine years in London’s West End, two TV specials and performances in over 20 countries, the Reduced Shakespeare Company bring their legendary Shakespeare spoof to a new generation of audiences.
We caught up with actor Tom Pavey to learn more about the show.
What can you tell me about the show and your role within it?
The show is a madcap, laugh-a-minute, sketch-style comedy but also a touching and extremely nuanced tribute to William Shakespeare and his plays (and all the sonnets)! It’s filled with many many wigs, prop swords, skulls and costumes, because there’s a lot to cover! It’s also the story of three ambitious actors who want to take on the challenge of performing every single Shakespeare play in one single evening, and who knows if they’ll do it? I do, because I’m in it. But do you know? Maybe you should come and find out…
The show is a madcap, laugh-a-minute, sketch-style comedy but also a touching and extremely nuanced tribute to William Shakespeare and his plays (and all the sonnets)! It’s filled with many many wigs, prop swords, skulls and costumes, because there’s a lot to cover! It’s also the story of three ambitious actors who want to take on the challenge of performing every single Shakespeare play in one single evening, and who knows if they’ll do it? I do, because I’m in it. But do you know? Maybe you should come and find out…
This show is described as a fast, furious sprint. How do you physically and mentally prepare to maintain that level of intensity for 90+ minutes without losing your breath or your place in the script?
I personally make sure I’ve eaten a full box of Weetabix and then do c.400 press-ups before the show. I also stare at myself in the mirror and go through the entire show in my head backwards so that it’s fully locked in.
I personally make sure I’ve eaten a full box of Weetabix and then do c.400 press-ups before the show. I also stare at myself in the mirror and go through the entire show in my head backwards so that it’s fully locked in.
With three actors playing dozens of roles, the backstage choreography is often as complex as what’s on stage. How do you balance the fast paced energy in the show on stage and off?
Well we have a very cunning secret… our assistant stage manager Louisa is running around backstage too, and does a fantastic job with making sure our props are in hand and we’re all costume-d up for each scene! In all honesty, I think we could sell tickets for seats backstage just to watch the chaos unfold!
The History plays are condensed into a chaotic football match. How much of that sequence is strictly choreographed, and how much is genuine, unbridled competitive energy between the three of you?
We came up with the sequence with our director, the one-and-only Adam Long, during rehearsals, so it’s a little bit choreographed, but we keep the competitive energy up between us during the sequence, inspired by all of the English Kings who we portray in the scene and their greed for the throne.
We came up with the sequence with our director, the one-and-only Adam Long, during rehearsals, so it’s a little bit choreographed, but we keep the competitive energy up between us during the sequence, inspired by all of the English Kings who we portray in the scene and their greed for the throne.
Transforming Titus Andronicus into a YouTube cooking tutorial is a dark, brilliant pivot. How do you balance the gruesome nature of that play with the click-and-subscribe persona of a modern influencer?
Firstly, thank you, means a lot. I wish I’d written it, it’s that brilliant of a pivot. But in answer to your question, I think the juxtaposition between a bloody, dark play and then Efé coming on all cheery and saying ‘like and subscribe’ is what sells this part of the show.
Firstly, thank you, means a lot. I wish I’d written it, it’s that brilliant of a pivot. But in answer to your question, I think the juxtaposition between a bloody, dark play and then Efé coming on all cheery and saying ‘like and subscribe’ is what sells this part of the show.
This is a brand-new, updated version. Without giving too much away, what is one modern reference or update in this version that you think would make Shakespeare himself do a double-take?
I think Titus mentioning ‘like and subscribe’ would absolutely get him. He was a great wordsmith, but he had his chance to add that phrase into his own plays and clearly he chose not to. He’d hear that and what a good reaction it gets from the audience and then instantly regret his decision to not include ‘like and subscribe’ in his own version of Titus Andronicus.
I think Titus mentioning ‘like and subscribe’ would absolutely get him. He was a great wordsmith, but he had his chance to add that phrase into his own plays and clearly he chose not to. He’d hear that and what a good reaction it gets from the audience and then instantly regret his decision to not include ‘like and subscribe’ in his own version of Titus Andronicus.
This show famously breaks the fourth wall. How do you handle it when an audience member gives you a reaction you didn’t expect? Does it change the trajectory of the show that night?
I think it varies so much, sometimes we get laughs where we didn’t the night before, and vice versa. It keeps us on our toes but we’re very ready for chaos, sometimes doing some improv or cracking some jokes to keep the show moving. We’re also very silly and having a bit of back and forth with the audience really keeps us going too and makes every night unique! The show is also great at involving the audience rather than making them feel secondary to the action on stage and we like to think of them as the fourth actor really, so that the trajectory of the whole show always feels like a shared journey with the audience too.
I think it varies so much, sometimes we get laughs where we didn’t the night before, and vice versa. It keeps us on our toes but we’re very ready for chaos, sometimes doing some improv or cracking some jokes to keep the show moving. We’re also very silly and having a bit of back and forth with the audience really keeps us going too and makes every night unique! The show is also great at involving the audience rather than making them feel secondary to the action on stage and we like to think of them as the fourth actor really, so that the trajectory of the whole show always feels like a shared journey with the audience too.
Comedy like this relies entirely on trust between the three actors. How did the three of you build that shorthand communication needed to handle sword fights and lightning-fast improv?
We rehearsed a lot! Every part of the show is shared between the three of us which is really nice, but it means we’re all basically on stage 100% of the time. Having a lot of practice meant we can pick up on each other’s visual signals more easily to, say, add more energy to a scene, or lock in before the sword fights. We also use morse code by blinking to get messages to each other.
We rehearsed a lot! Every part of the show is shared between the three of us which is really nice, but it means we’re all basically on stage 100% of the time. Having a lot of practice meant we can pick up on each other’s visual signals more easily to, say, add more energy to a scene, or lock in before the sword fights. We also use morse code by blinking to get messages to each other.
Some people take Shakespeare very seriously. What do you say to the theatre purists to convince them that a gloriously absurd sprint is actually the best way to honour the Bard’s work?
There are loads of different ways to honour the Bard, I think each have their own merits. But ours is the best you’re so right. I know what you mean about the so-called ‘theatre purists’, and to them I’d say (a) it’s all gonna be okay, and (b) loads of wigs, breaking the fourth wall and funny gags is (probably) exactly what it was like to watch a Shakespeare play in Elizabethan/Jacobean England. Then they’d heartily agree with me and we’d all be friends and they’d look up where they can come and watch The Complete Works of William Shakespeare (Abridged) in a town near them.
There are loads of different ways to honour the Bard, I think each have their own merits. But ours is the best you’re so right. I know what you mean about the so-called ‘theatre purists’, and to them I’d say (a) it’s all gonna be okay, and (b) loads of wigs, breaking the fourth wall and funny gags is (probably) exactly what it was like to watch a Shakespeare play in Elizabethan/Jacobean England. Then they’d heartily agree with me and we’d all be friends and they’d look up where they can come and watch The Complete Works of William Shakespeare (Abridged) in a town near them.
What is your own personal favourite Shakespeare play and why?
Gnomeo & Juliet. I’m constantly thinking of Elton John as a gnome but it made me terrified of lawnmowers.
Gnomeo & Juliet. I’m constantly thinking of Elton John as a gnome but it made me terrified of lawnmowers.
If you could ask Shakespeare any question, what would you ask him?
Do you prefer your sandwiches cut into triangles or rectangles?
Do you prefer your sandwiches cut into triangles or rectangles?
What was the first piece of theatre that had a big impact on you?
I grew up watching Tommy Cooper and The Two Ronnies with my grandad – I know it’s not live theatre, but it really inspired me and gave me a love of sketch comedy and making people laugh. In terms of live theatre though, we tend to go to a panto every year on my birthday (24th December) and as a kid I remember thinking how bright and fun it looked, and how much I wanted to take part! That came true when I joined my local theatre company as a teenager and took part in their panto every year, which was a real blast!
I grew up watching Tommy Cooper and The Two Ronnies with my grandad – I know it’s not live theatre, but it really inspired me and gave me a love of sketch comedy and making people laugh. In terms of live theatre though, we tend to go to a panto every year on my birthday (24th December) and as a kid I remember thinking how bright and fun it looked, and how much I wanted to take part! That came true when I joined my local theatre company as a teenager and took part in their panto every year, which was a real blast!
What keeps you inspired?
The tenacity, devotion and sheer comedic genius of our director, Adam, and all of the others at the RSC. This show has quite the legacy, and being able to perform it around the UK is an honour. My partner and my family who have constantly supported me through all of my endeavours are also such a source of love and inspiration and I am grateful to all of them.
Beyond the laughs, what do you hope the audience feels when the crown is finally put down at the end of the night?
Exhausted, happy and triumphant. Inspired, even. Possibly in need of a pint (or another refreshing soft beverage if underage/driving, stay safe please). As I mentioned above, the show is a journey for everyone, and I really hope everyone feels that. I want the audience to feel like they took part in the show and that they can look back on the experience fondly with a totally new appreciation for theatre and Shakespeare. Finally, I want the audience to think we’re cool (please think we’re cool).
The Complete Works of William Shakespeare (abridged) is touring with dates booking until 11th July 2026. For more information visit https://completeworkstour.co.uk/
The show will play at the Watford Palace Theatre from 25th - 27th May 2026. For tickets visit https://watfordpalacetheatre.co.uk/
Post a Comment