Regents Park Theatre
Ellen McDougall
I’ve wanted to direct Thornton Wilder’s Our Town for a long time.The play is beautifully written and its form feels not only ahead of its time (it was written in 1938), but also extremely powerful for a contemporary audience in an open air theatre.As you might guess from the title, Our Town tells the story of a community: in the first act we meet everyone in the town from the paperboy to the doctor. But, as well as the people alive at this moment in time within the town, the scope of the play also stretches back into the historic and prehistoric life of its community, and stretches Read more ...
Marianka Swain
The resplendent partnership of Alan Menken and Howard Ashman – which produced Disney hits Aladdin, Beauty and the Beast and The Little Mermaid – first took root with this 1982 Off-Broadway musical, based on a low-budget Sixties film, about a man seeking love and fortune via a bloodthirsty plant. This revelatory revival from Maria Aberg embraces the work’s B-movie dichotomy: equal parts dark, gory fable and riotous carnival of delights.Orphaned Seymour (Marc Antolin) is nerdy assistant to the Skid Row florist who took him in as a child. He pines after colleague Audrey (Jemima Rooper, Read more ...
Heather Neill
It's been raining in Regent's Park. On a balmy summer evening during a prolonged dry spell – perfect for outdoor theatrics – it seems ironic to tempt fate by creating artificial downpours and thunderstorms. But this music-filled, modern-dress production of Shakespeare's 1599 gender-bending comedy opens with a version of the usurping Duke Frederick's court which is not only brutal but also careless about the environment. Even Rosalind and Celia casually toss bits of rubbish into the lake (already bobbing with plastic bottles) that fronts the bleak metal-framed stage. The miserable weather Read more ...
David Nice
Opera and music theatre have set the birds shrilling in Regent's Park before in the shape of Gershwin's Porgy and Bess – a very forgettable production – and Sondheim's Into the Woods – much better, and a score which can give any 20th century opera a run for its money in terms of thematic interconnection. Britten's A Midsummer Night's Dream would have been the obvious candidate; its earlier, tauter, smaller-scale companion-piece in terms of a very English haunting, The Turn of the Screw, was the more problematic choice for the Open Air Theatre's first collaboration with English National Opera Read more ...
Heather Neill
This exuberant production both clarifies and further complicates the conundrum of Peter Pan. In any production true to Barrie there is an underpinning of sadness, an acknowledgement of the losses we must all suffer: children leave home and adult responsibility takes the place of childhood innocence. And yet, despite the tragedies which dogged both Barrie's own life and those of the family who inspired this work, it is also a celebration of the youth and joy which Peter himself claims to represent. In this version, first seen in 2015, Timothy Sheader and Liam Steel mark the centenary of the Read more ...
David Edgar
Since mid-August, I’ve been doing something I swore I’d never do again. I’ve been rehearsing a new adaptation of a novel by Charles Dickens. Sometime in the autumn of 1979, I received a phone call from Trevor Nunn, artistic director of the Royal Shakespeare Company. He explained that the company wanted to do a version of a Dickens novel, and would I be interested in adapting it?As my brain rushed chaotically through what I remembered of the Dickens canon, he explained that the choice was down to two: the dark and majestic late novel Our Mutual Friend and the earlier picaresque jollity Read more ...
Susan Sheahan
Much loved, yes. But Dickens’s novel is probably little read by modern audiences and so a chance to see a new adaptation of this tale of discontent, riot and general mayhem set in the French revolution and spread across London and Paris in the late 1700s should be a genuine treat for theatregoers. And on paper Matthew Dunster’s version for Regent's Park of this intense exploration of injustice (billed, in fact, as "a new play") has it all: love, death, comedy, revolution and the promise of a provocative exploration of the underlying issues of power, oppression and tragedy connecting how we Read more ...
Matthew Dunster
When you are adapting a novel like A Tale of Two Cities, it's a privilege to sit with a great piece of writing for a considerable amount of time. You also feel secure (and a bit cheeky) in the knowledge that another writer has already done most of the work.I always have an eye on the final production, whether I'm directing it or not. I want to always be thinking about what theatre and theatre artists can achieve on behalf of the novel. So the adaptations hopefully aren't like dialogue-led plays, more like scores for the theatre. Tim Sheader, the director, and I, love Dickens. We re-read Read more ...
David Benedict
On 8 April 1952, screenwriters Betty Comden and Adolph Green were chatting to Charlie Chaplin at a party when he started raving about a picture he’d seen the previous night at Sam Goldwyn’s house. It was called Singin’ in the Rain – had they heard of it? “Heard of it? We wrote it!” But then, this dynamic duo had form: five years earlier they wrote On the Town. But if you’ve only ever seen that prototype sailor-on-shore-leave movie, you’ll have missed the thing from their original stage version that catapulted Comden & Green to showbiz fame: the dynamite score they wrote with their Read more ...
alexandra.coghlan
London’s West End may be the envy of the world, but when it comes to musicals the big-hitting theatres might have to up their game a bit if they’re to keep up with the city’s rival offerings. Compare the summer’s biggest opening, Aladdin (currently failing to pull a genie out of its bottle at the Prince Edward Theatre) with just a few of the current upstart alternatives: the cheeky and charming Bugsy Malone at the Lyric Hammersmith and the thoughtful Into The Woods at the Menier Chocolate Factory. Now, from Regent’s Park Open Air Theatre, comes yet another challenger – a gritty new Jesus Read more ...
Marianka Swain
As we finally go to the polls, casting votes based on our view of national identity and Britain’s place in the world, here comes Shakespeare’s ever-topical play. Robert Hastie’s thoughtful take is contemporary dress but stripped back, not so much holding up a mirror as inviting us to project modern concerns onto it.Of course certain elements ring out in the current context, from negotiations with a supercilious French representative to the fraught justifications for foreign conflict and fractured clans back home. So, too, does the Chorus’s direct address, asking us to summon vast battlefields Read more ...
Miriam Gillinson
Running Wild is a theatrical safari with no expenses spared. This latest stage adaptation of a novel by Michael Morpurgo (of War Horse fame) boasts a jungle-full of puppets – a majestic elephant and some affectionate orangutans included – and a tsunami that sweeps right over the audience. The puppets may steal your heart but the play itself, which peddles a stern conservation message, left me cold – and not just because it was a nippy night outdoors in Regent's Park. The story occupies classic Morpurgo territory and once again features a bereaved kid who finds solace and purpose in the Read more ...