When you think of Shakespeare in London, you probably picture candlelit theatres, actors in doublets and hose, and the echo of To be or not to be in a 16th-century yard. But the Royal Shakespeare Company doesn’t just keep Shakespeare frozen in time. In fact, some of their most talked-about shows right now look nothing like what you’d expect.
Where the RSC Actually Performs in London
The Royal Shakespeare Company isn’t just one theatre. It’s a company with roots in Stratford-upon-Avon, but its London home is the Barbican Centre. Since 1982, the Barbican has been the RSC’s main London base. You won’t find it tucked away in a historic alley like the Globe. The Barbican is a concrete Brutalist giant in the heart of the City of London - modern, bold, and unapologetically 20th century. It’s the perfect contrast to Shakespeare’s old-world language.
Every year, the RSC brings between 6 and 8 productions from Stratford to London. These aren’t touring versions. These are full-scale, fully rehearsed, critically reviewed shows that often get rewritten or reimagined for the London audience. The Barbican’s stage is huge, with a 360-degree seating layout that lets the audience feel like they’re inside the action - not just watching it.
Traditional Productions: What They Look Like Today
Don’t assume "traditional" means dull. The RSC’s traditional productions are meticulously researched. Costumes are based on Tudor and Jacobean fashion. Sets use period-appropriate wood, tapestries, and candlelight effects. Sound design avoids modern instruments - lutes, recorders, and harpsichords dominate.
In 2024, their production of Henry IV, Part 1 used real horseback riding on stage. The actors trained for months. The clatter of hooves on wooden planks, the smell of leather and hay - it wasn’t just visual. It was sensory. Audiences said they felt like they were in a medieval camp, not a theatre.
These shows don’t change the text. They don’t cut lines. They don’t add pop songs. But they do make the language breathe. Directors work with dialect coaches to help actors speak Shakespeare like real people - not reciting poetry. One actor told me, "We don’t say ‘O, Romeo’ like a sigh. We say it like you’d call out to your brother when he’s late for dinner."
Modern Productions: When Shakespeare Goes Wild
Then there are the shows that make people gasp.
In 2023, the RSC staged Macbeth in a disused underground car park under London Bridge. The stage was made of rusted metal. The witches were dressed as hospital orderlies with IV drips. Macbeth didn’t wear a crown - he wore a business suit, and his dagger was a pen. The murder of Duncan happened during a corporate board meeting. The audience stood in the dark, surrounded by flickering LED screens showing live feeds of the actors’ faces.
Another production, The Tempest, turned Prospero into a tech billionaire. The island was a virtual reality lab. Ariel was a hologram. Caliban was a refugee in a hoodie. The storm? A 360-degree projection of crashing data streams. The show ended with Prospero deleting his own AI creation - and the audience leaving in silence.
These aren’t gimmicks. They’re interpretations. The RSC doesn’t do "modern Shakespeare" to be edgy. They do it because the themes still hit hard. Power. Control. Isolation. Madness. These aren’t 400-year-old problems. They’re today’s headlines.
How the RSC Decides What to Stage
There’s no secret formula. But the artistic team looks at three things:
- What’s happening in the world? (War, inequality, climate anxiety)
- What’s being said in classrooms? (Students struggling with Shakespeare’s language)
- What’s missing from the stage? (Diverse voices, non-binary casting, disabled actors)
In 2025, they cast a deaf actress as Lady Macbeth. Her performance used British Sign Language as the primary language, with spoken lines projected as subtitles. The result? A haunting, silent intensity that made the audience lean in - not because they were trying to hear, but because they were trying to feel.
They also rotate productions every two years. A traditional Midsummer Night’s Dream might be followed by a punk-rock version with electric guitars and graffiti backdrops. The RSC doesn’t believe in one "right" way to do Shakespeare. They believe in many ways - and they want you to see them all.
Why This Matters for Londoners
London has dozens of theatres. The Globe gets the tourists. West End gets the crowds. But the RSC does something different: it makes Shakespeare feel urgent.
It’s not about nostalgia. It’s about relevance. A 17-year-old in Peckham might not care about a prince in Denmark. But if that prince is a TikTok influencer drowning in online hate? That’s a story they recognize.
The RSC doesn’t just perform plays. They host workshops for school kids, free post-show talks with directors, and even "Shakespeare in the Park" pop-ups in housing estates. In 2024, they partnered with 47 London schools. Over 12,000 students saw a live RSC show - many for the first time.
And it’s working. Ticket sales for modern productions have grown 22% since 2020. The average age of the audience is now 38 - down from 52 in 2010. Younger people aren’t just coming. They’re bringing their friends.
What to Expect When You Go
If you’re planning a visit, here’s what you need to know:
- Book early: RSC shows sell out fast, especially the modern ones. Tickets go on sale 3 months ahead.
- Check the style: The website labels each show as "Traditional" or "Modern." Don’t assume based on the title.
- Stay for the talk: Most shows have a 20-minute Q&A after the curtain. Directors, actors, and designers answer questions. It’s free with your ticket.
- Bring an open mind: If you go to see Othello and the set looks like a police interrogation room - that’s not a mistake. That’s the point.
There’s no dress code. No need for a suit. Just show up. The RSC doesn’t care what you wear. They care that you’re there.
What’s Next for the RSC in London
In 2026, the RSC is launching a new initiative: "Shakespeare Unlocked." It’s a digital archive of every production they’ve ever done in London - from 1982 to today. You’ll be able to watch clips, read director notes, and compare how they staged Hamlet in 1995 versus 2023.
They’re also testing AI-assisted translation tools for non-native English speakers. Imagine watching King Lear with real-time subtitles that don’t just translate words - they explain metaphors, cultural references, and wordplay.
One thing’s clear: the RSC isn’t preserving Shakespeare. They’re letting him evolve. And London is the perfect place for that to happen.