Theatre
Meow Meow's Souvenir, Brighton Festival review – subversive but evocative new song-cycleMonday, 22 May 2017
Dream palace, cesspit and church; celebrated, mopped (by Marlene Dietrich, no less) and fucked: Brighton’s Theatre Royal has seen a whole lot of history, of both the splendid and the seedy variety. Now it has found a magnificent if unlikely... Read more... |
Richard III review - Greg Hicks gruesomely impressive as power-crazed rulerSaturday, 20 May 2017
There may never have been a time when Shakespeare’s Richard III did not have contemporary relevance, but surely never more than it does right now. And it’s to the credit of director Mehmet Ergen that this production doesn’t go to town on it, but... Read more... |
Lettice and Lovage, Menier Chocolate Factory review - Peter Shaffer's star vehicle sagsFriday, 19 May 2017
You have to hand it to Felicity Kendal: this ever-game actress is fearless about treading in the footsteps of the British theatre's grandes dames. In 2006, she starred on the West End quite creditably in Amy's View, inheriting a part originated on... Read more... |
No Dogs, No Indians, Brighton Festival review – poor production shoulders too big a taskFriday, 19 May 2017
A whacking great story has gone largely untold in British theatre: the legacy of colonialism in India, including the cultural ghosts the British left behind. With the 70th anniversary of Indian independence just round the corner this summer, poet... Read more... |
Life of Galileo, Young Vic review - shared-experience Brecht is powerful, timelyWednesday, 17 May 2017
Never mind breaking the fourth wall, Joe Wright and the Young Vic have smashed the other three as well. This isn’t simply because their engaging production of Life of Galileo, demonstrating the struggle between science and prevailing authority, is... Read more... |
Manwatching, Royal Court review - the vagina manologuesTuesday, 16 May 2017
This monologue first saw the light of day at the Edinburgh Fringe in 2015. It's a frank – very frank – piece about female sexuality by an anonymous heterosexual female author, performed by a different male comic each night, who reads it sight unseen... Read more... |
Our Ladies of Perpetual Succour review - West End transfer hits all the right notesTuesday, 16 May 2017
Sacred and profane, trivial and profound blissfully combine in this irresistible, Olivier Award-winning tale of choirgirls gone wild. Lee Hall, of Billy Elliot fame, adapts Alan Warner’s 1998 novel with a similarly shrewd grasp of youthful hope... Read more... |
Casus Circus Driftwood, Brighton Festival review - eye-boggling gymnastic theatreTuesday, 16 May 2017
There is a sequence in theatrical circus troupe Casus’ new production, Driftwood, where three of the five members sit, each between the legs of another, in a row, facing the front of the stage. They look as if they’re about to do the rowing dance... Read more... |
Three Sisters, Sovremennik review - over-conscious of its legendarinessSunday, 14 May 2017
Sovremennik is Russian for “contemporary”, and ever since its founding in the Soviet Union's 1950s Thaw, Moscow’s Sovremennik Theatre company has lived by the idea that it expresses new, fresh breath in Russian theatre. Unless you argue... Read more... |
Medea, Bristol Old Vic - formulaic feminism lets Greek classic downFriday, 12 May 2017
Greek tragedy provides an unending source of material for the stage: in no other theatrical form have the labyrinths of human nature been so deeply explored: the rich tapestry of archetypal family conflicts, driven by instincts that force helpless... Read more... |
Salomé, National Theatre review - Yaël Farber’s version is verbose and overblownWednesday, 10 May 2017
Is God female? It says a lot about Yaël Farber’s pompous and overblown new version of this biblical tale at the National Theatre that, near the end of an almighty 110-minute extravaganza, all reason seemed to have vacated my brain, and its empty... Read more... |
Occupational Hazards, Hampstead Theatre review - vivid outline in search of a fuller playWednesday, 10 May 2017
"This is the most fun province in Iraq" isn't the sort of sentence you hear every day on a London stage. On the basis of geographical breadth alone, one applauds Occupational Hazards, in which playwright Stephen Brown adapts global adventurer-turned... Read more... |
