Patrick Marber’s powerful debut about gambling men is 30 years old, born as the Eighties entrepreneurial boom was starting to sour but before poker become a game for mathematical whizz kids. What it reveals as it maps the male psyche seems as pertinent as ever. Into the gladiatorial arena of a weekly poker game among restaurant colleagues comes a (disguised) pro player, and the results are explosive. There are no women here, which is the point. Their disapproving tongues aren’t needed as the combatants are perfectly adept at skewering themselves. These are men who have mistaken risk- Read more ...

Fragile egos abound. An older person (usually a man) has to bring the best out of the stars, but mustn’t neglect the team ethic. Picking the right players is critical. There’s never enough money, because everything that comes in this season is spent on the next. The media, with a sneer never too far from the old guard and its new version alternately snapping and fawning with little in between, has to be placated.You have to keep going out there, no matter how much it hurts the body or mind, as an audience always awaits. And yet you know, with total certainty, that these are the best days of Read more ...

Back in 2009, there were Ben and Wystan on stage (Alan Bennett’s The Habit of Art). Last year came Ben and Master David Hemmings (Kevin Kelly's Turning the Screw), followed by Ben and Imogen Holst according to Mark Ravenhill. That RSC Swan production is now playing in the Richmond round. It grips, thanks to extraordinary performances by Samuel Barnett and Victoria Yeates, and taut dramatic structure, but how deeply is it rooted in truth, and does that matter?Up to a point, yes. Britten told “Imo” in July 1952 that “it has been wonderful to know there was someone one could trust, not only to Read more ...

In 2012, an eight-hour long version of F Scott Fitzgerald’s The Great Gatsby arrived in London at the Noel Coward Theatre. Rather than risk offending the novel’s devotees by missing any detail out, the Elevator Repair Service theatre company had decided that they would stick their necks out and offer a theatrical marathon, narrating the book in its entirety.The gamble paid off: when Gatz played on Broadway, the New York Times declared it to be “the most remarkable achievement in theatre not only of this year but of this decade.” In London, the Guardian  Read more ...

The Finborough has once again performed the miracle of creating a whole world in its intimate space: this time, inter-war France, where two young girls meet and form a strong attachment. The semi-autobiographical story comes from a 1954 Simone de Beauvoir novel, Les inséparables, never published in her lifetime. Some apparently considered it too intimate, and Jean-Paul Sartre disapproved of it.Or maybe the great existentialist had spotted that the story is a trifle thin. Two bourgeois girls move though puberty to Paris, where one goes to university and the other meets a handsome intellectual Read more ...

“They fuck you up your Mum and Dad; they may not mean to, but they do.” These lines from Philip Larkin’s 1975 poem, “This Be the Verse”, sum up the emotional fuel of many recent plays by young writers.They certainly apply to Personal Values, Chloë Lawrence-Taylor’s debut, which is currently running in the studio at the Hampstead Theatre. But as well as showing the negative influences of parents on their children, this play is also a study of sisters, who have to cope with grief, and includes a really vivid stage representation of hoarding, here presented not as a Reality TV entertainment, but Read more ...

A single sofa is all we have on stage to attract our eye - the signifier of intimate family evenings, chummy breakfast TV and, more recently, Graham Norton’s bonhomie. Until you catch proper sight of the room’s walls that is, which are not, as you first thought, Duluxed in a bland magnolia shade, nor even panelled with upmarket modernist abstract paintings, befitting of the whiff of wealth that suffuses the space. It’s a man’s head, repeating and repeating and repeating, turned away, bull-necked, present but not present, intimidating from beyond the grave. I was in the stalls and I felt it! Read more ...

The mind is its own place, and in itself can make a heaven of hell, a hell of heaven. Or words to that effect. This quote from Milton’s Paradise Lost seems apt when thinking about the prevalence of mental health issues in current new writing for British stages. Perhaps this subject reflects the long shadow of the pandemic, or our greater sensitivity to such conditions.Either way, playwright and actor Naomi Denny’s new play, All the Happy Things, which was nominated for Soho Theatre’s Tony Craze Award in 2020, and now has a production in this venue’s studio space, speaks sincerely about death Read more ...

The writer Amy Ng has made a sterling effort in digging up the true story behind her new play at the Kiln, Shanghai Dolls, but sadly has not yet found the best way to project this interesting material. The Dolls are two women who meet in Shanghai in 1935. China is riven by a civil war, the Japanese are encroaching on its territory and the Communist leader who will become one of the 20th century’s most iconic faces, Chairman Mao, is undertaking the Long March to save the Red Army from Nationalist forces. Newspaper headlines trumpet this, projected on the back wall. Meanwhile two women Read more ...

Are we really in “a new era of male anger, societal discontent and rage”? This is what Royal Court artistic director David Byrne claims in the programme of Manhunt, Robert Icke’s new documentary play about Raoul Moat. Weak thought, because surely there has never been a decade in which toxic masculinity was not a problem.Still, the current success of Jack Thorne’s Adolescence on Netflix certainly shows that we are more than ever fascinated by its roots in boyhood, but male rage has a very long backstory. All you have to do is read the Bible. Or scan the myths of ancient Greece (Icke’s Read more ...

It seems a bizarre idea. Take a pivotal film in American culture that reset the perception of The Great American Dream at this, obviously, pivotal moment in American culture in which The Great American Dream, for millions, is being literally swiped away at gunpoint, And… make it into a musical? Stranger ideas have worked - try Evita and Assassins for starters, but there’s plenty more cut from unpromising cloth and don’t forget that the first words on the programme say ‘BASED ON THE NOVEL WRITTEN BY JAMES LEO HERLIHY’. For all that assertion, the key question persists: can the stage show Read more ...

Keelan Kember’s play Thanks for Having Me may look like a vehicle for Kedar Williams-Stirling (Sex Education, Red Pitch), but it’s more accurately a showcase for the comedic talents of Keelan Kember, a former OUDS performer with a TV pilot to his credit already. This 70-minute piece looks like another one.The set alone suggests we are in sitcom territory, a fashionable pad belonging to Honey (Williams-Stirling), a 30-year-old accountant, though he styles himself as a wannabe musician to his dates. The latest of these is Maya (Adeyinka Akinrinade, pictured bottom, with Williams-Stirling), Read more ...