Theatre Reviews
The Winter's Tale, Sam Wanamaker PlayhouseFriday, 05 February 2016
For a play about silence – its uncanny ability to tell the truth, to “persuade when speaking fails” – The Winter’s Tale is remarkably wordy. Of the sequence of late romances only Cymbeline comes close to the dense and elliptical verbal patterning we find ourselves tangled in here. Read more...
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Rabbit Hole, Hampstead TheatreFriday, 05 February 2016
The death of a child is an unnatural loss. There’s no reassurance that the departed lived a full life, rather the jagged edge of one cut short. In the case of Becca and Howie, it’s also nonsensical: their perfectly healthy four-year-old son struck by a car in a freak accident while chasing their dog onto a quiet suburban street. How to find meaning in such absurd horror? Read more... |
The Master Builder, Old VicThursday, 04 February 2016
Demons, trolls and dead souls have a habit of latching onto Ibsen's bourgeois Norwegians. Surely the best way for actors to handle them is to keep it natural, make them part of the furniture and, in Dostoyevsky's words, "render the supernatural so real that one is almost forced to believe it". But very little seems real or spontaneous in Matthew Warchus's production of The Master Builder. Read more... |
Ma Rainey's Black Bottom, National TheatreWednesday, 03 February 2016
"One... Two... You know what to do": that coolly delivered rehearsal intro from a trombonist called Cutler (Clint Dyer) could serve as a synoptic appraisal of the simply overwhelming National Theatre revival of Ma Rainey's Black Bottom. Read more... |
Red Velvet, Garrick TheatreWednesday, 03 February 2016
Lolita Chakrabarti’s impassioned debut has only gained topicality since its 2012 Tricycle incarnation. Trevor Nunn’s all-white Wars of the Roses and #OscarsSoWhite, among others, have fanned its flames, while quips about a paranoid Russian regime and the limits of English openness to change seem all too pertinent. Cameron might well borrow the woolly idea of “new based on the old” during the European referendum debate. Read more... |
Jeepers Creepers, Leicester Square TheatreMonday, 01 February 2016
You might think that the combination of a play about one of the funniest comics of the second half of the 20th century, written by his biographer and directed by a member of Monty Python would be a winning one. But sadly Robert Ross's Jeepers Creepers: Through the Eyes of Marty Feldman is anything but. Read more... |
Escaped Alone, Royal Court TheatreFriday, 29 January 2016
Caryl Churchill is a phenomenon. Now 77 years old, she remains not only prolific but also immensely inventive, having notched up more than 35 original plays, many of which have been innovative in form and imaginative in content. Added to this, she has penned dramas for radio and television, as well as adaptations of the classics. She also retains the power to annoy: the National Theatre staging of her Here We Go last autumn provoked walkouts and howls of critical derision. Read more... |
The Mother, Tricycle TheatreWednesday, 27 January 2016
Anne longs for her 23-year-old son Nicholas to return home. One night, he appears. Or does he? Welcome back to the queasily elliptical world of Florian Zeller, where certainty fractures as familiar elements are repeated, dissected, made strange and menacing. Zeller used this immersive dislocation to powerfully communicate the experience of dementia in The Father, which last year travelled from Theatre Royal Bath to the Tricycle and on into the West End. Read more... |
Pink Mist, Bush TheatreWednesday, 27 January 2016
The war in Afghanistan has not exactly been neglected by contemporary British theatre, and the plight of returned soldiers is a standard trope of new writing. These distant wars function in our culture like worse-case scenarios, an excoriating version of hell on earth, where survivors come back to haunt the comfortable, and to tell us things about being human that we never really wanted to know. Read more... |
Yen, Royal Court TheatreTuesday, 26 January 2016
Feral kids are a media stereotype, but they make good strong subjects for drama. In Anna Jordan’s new play, which was first seen at the Manchester Royal Exchange last year after winning the Bruntwood Prize for Playwriting in 2013, we are introduced to two young brothers who have been abandoned by their parents. Hello Hench, who’s 16 years old; and hello Bobbie, who’s only 13. Read more... |
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Advertising feature
★★★★★
‘A compulsive, involving, emotionally stirring evening – theatre’s answer to a page-turner.’
The Observer, Kate Kellaway
Direct from a sold-out season at Kiln Theatre the five star, hit play, The Son, is now playing at the Duke of York’s Theatre for a strictly limited season.
★★★★★
‘This final part of Florian Zeller’s trilogy is the most powerful of all.’
The Times, Ann Treneman
Written by the internationally acclaimed Florian Zeller (The Father, The Mother), lauded by The Guardian as ‘the most exciting playwright of our time’, The Son is directed by the award-winning Michael Longhurst.
Book by 30 September and get tickets from £15*
with no booking fee.
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