Enjoy a Summer of Shakespeare and Get Hooked for Life

There has never been a better time to try Shakespeare as London is inundated with productions and the BBC excels.

Over the years, there have been long spells when it has been impossible to see a Shakespeare play in London. However, as a break from the excitement of the Olympics, it is unlikely that there has ever previously been quite so much variety available, even when the great man was actually alive.

The idea of voluntarily watching a Shakespeare play can present a problem to many of us do were so traumatised by force-feeding at school that his canon became a thing to be feared.

This is the opportunity to overcome that phobia forever. Whatever your taste, Shakespeare has something to offer. Comedies such as Twelfth Night, which will be appearing at the Globe (followed by a West End transfer) with Stephen Fry as Malvolio, are always enjoyable, as is their current production of The Taming of the Shrew.

For lovers of psychology or the heavily dramatic, Hamlet cannot be beaten, while the History Cycle introduces us to another unforgettable character, Richard III (also coming to the Globe and West End). However, for your columnist, nothing can beat the romance and wit of The Winter's Tale (Propeller have an all-male production at Hampstead), with its exploration of jealousy that cannot be beaten and an ending that is truly magical.

For most readers wherever they live, the easiest access will come by way of The Hollow Crown, a BBC series produced at an executive level by Sam Mendes and featuring the best stage actors of their generation, most of whom transform effortlessly to the small screen.

They are helped by what is clearly a very big budget and fantastic camera work, as well as direction from young lions Rupert Goold and Thea Sharrock joining the much more experienced Sir Richard Eyre, former artistic director at the National Theatre.

Seeing the likes of Ben Whishaw, Jeremy Irons and Julie Walters is a joy and they ensure that the potentially difficult language feels absolutely natural and contemporary.

Without wishing to belittle Ben Whishaw's sensitive Richard II opposite Rory Kinnear as Bolingbroke, best of all in the first two episodes so far has been the opportunity to see Simon Russell Beale excelling. He is absolutely the best stage actor around and takes on the role of Falstaff, an obese coward who has somehow befriended Tom Hiddleston's Hal, the 15th century's equivalent to Prince William. This unlikely pairing provides rich entertainment in Henry IV Part 1, before the young man suddenly takes on his regal responsibilities in a battle to the death.

The characters that we see and dilemmas faced by both rich and poor can be mirrored in our own day, which is why Shakespeare has survived far better than any of his contemporaries and most other playwrights who have written at any time in the succeeding 400 years.

This can often be more apparent from stage productions since, these days, period costume is a rarity. Indeed, if you exclude The Hollow Crown on TV and some great work at Shakespeare's Globe, almost every other production uses modern dress, which can aid accessibility and understanding.

In addition to the Globe, both the RSC and Hampstead Theatre have run short seasons of Shakespeare, while the mouth salivates at the prospect of seeing the aforementioned Mr Russell Beale playing Timon of Athens at the National, which opens next week.

If anyone thinks that this may be a bit too much like hard work, there is even a Cole Porter musical variation on the theme, with another former National Artistic Director, Sir Trevor Nunn directing Kiss Me Kate (based on The Taming of the Shrew) and garnering five-star reviews at Chichester.

With all of this choice, everyone should give Shakespeare a go this summer either on TV or in the flesh. It could be the start of a lifelong love affair.

Amongst other things, Philip Fisher is the London Editor of British Theatre Guide, where reviews of all of these shows are available to whet the appetite or tempt the uncertain.