Theatre
aleks.sierz
Can experimental theatre survive the decades? This year marks the 40th anniversary of the Forced Entertainment theatre company, whose mission is summarised (by themselves) as “tearing up the rulebook”.It is also the 50th anniversary of this venue, which began life as the Battersea Arts Centre all those years ago, and now proclaims itself as “a Home for the Extraordinary”. It is also one of the London hosts for the Sheffield-based company’s visit to the capital with some six shows and other events. One of these is L’Addition. But is the hype around the celebration of anniversaries justified by Read more ...
Matt Wolf
The Catalan capital has given its name to a famous number in the Stephen Sondheim musical, Company. And here it is lending geographical specificity to the second two-hander, following the far-superior Camp Siegfried, from American writer Bess Wohl to reach London in recent years.The star presence of TV name Lily Collins in a demanding stage debut will pique curiosity, for sure, but the play feels as if it wants to be weightier than it is and can't decide whether to surrender to cliche, or subvert it.Collins plays Irene, a glammed-up American abroad whom we first see in a lustful embrace with Read more ...
Helen Hawkins
It’s 1648 in Agra, and an excitable young guardsman has come up with an idea: a giant flying platform that he calls an “aeroplat”. As he might slide off it in transit, for good measure he gives it a belt to tie him down. It would be a “seat belt”, he suggests triumphantly.This detail tells you a lot about the world the American playwright Rajiv Joseph has created in Guards at the Taj (2015). It’s a fantasy, semi-surreal, with one foot planted in the quotidian. The terrain is from a distant era that verges on mythology, a time of autocratic emperors with grand projects, though its two Read more ...
aleks.sierz
Hanif Kureishi’s 1990 novel The Buddha of Suburbia begins like this: “My name is Karim Amir, and I am an Englishman born and bred, almost”. Almost. Yes, that's good. We are in 1970s south-east London, and this immediately introduces, despite its tentative tone, the protagonist as a young man trying to define his identity.Like the original book, this stage adaptation — by director Emma Rice with help from Kureishi — explores the tensions between East and West, Buddhism and Islam, suburb and city, glam rock and punk, gay and straight, with some of the characters adopting fake identities as well Read more ...
How To Survive Your Mother, King's Head Theatre review - mummy issues drive autobiographical dramedy
Gary Naylor
It is unsurprising to learn in the post-show Q&A that each audience receives Jonathan Maitland’s new play based on his 2006 memoir differently. My house laughed a lot (me especially) but some see the tragic overwhelming the comic, and the laughs dry up. When it comes to humour, as is the case with mothers, it’s each to their own.It’s an unusual production right from the off when the playwright, who is also a main character, is also acting himself too – but not entirely, as there’s a pre-teen and post-teen version of him too, played by different actors. Got all that? When you add his Read more ...
Rachel Halliburton
Even by Stanley Kubrick’s standards, Dr Strangelove went through an extraordinary evolutionary process. After starting it off as a serious film about nuclear war based on the 1958 novel Two Hours to Doom, he decided to turn it into a comedy with the help of porn-obsessed satirist Terry Southern.The distinctive result – as remarkable for its futuristic War Room design as its weapons-grade humour – brazenly evoked the madness of a world on the brink. It’s not hard to see why – when human self-destructivity is breaking records on the Doomsday Clock – Sean Foley and Armando Iannucci thought this Read more ...
aleks.sierz
“Don’t take a piss in the house of a woman you have made a widow.” The mixture of earthy comedy and tragic pain in this piece of parental advice is typical of the tone of Richard Bean’s Reykjavik, his new work play which explores the lives of the Hull trawlermen of the mid-1970s.As its title suggests, the story revisits the long-lost world of fishing in Arctic waters, and an industry which Bean also explored in his 2003 play, Under the Whaleback, which premiered at the Royal Court. Now a regular at the Hampstead Theatre, his new work has the distinct feeling of a throwback not only to his own Read more ...
Gary Naylor
The misadventures and misbehaviours of the English upper-middle class is catnip for TV executives. All those posh types on which us hoi polloi can sit in delicious self-righteous judgement, as we marvel at their cut glass accents, well-tailored clothes and ostentatious wealth. Meanwhile their worlds are always collapsing due to villainy, venality or misconceived virtue. Lovely stuff! While such tales are seldom far from a screen, they are often far from a stage, the challenge of scaling down just too intimidating for most adaptors. Not so Shaun McKenna and Lion Couglan who took on the Read more ...
David Nice
“I think this is all very strange,” declares 14-year-old Hedvig Ekdal at the end of The Wild Duck’s third act, just as everything is about to plunge into a terrifying vortex. Alan Lucien Øyen's’s production is pointedly strange from the start, a claustrophobic, Beckett-like terrain in the haunting, possibly haunted space of the Coronet, with black side walls and 13 black chairs, in which happiness stands no chance of survival. The screw turns slowly, but with devastating effect.Øyen, responsible also for the set and sound design, has whittled down Ibsen's cast, dispensing with the servants Read more ...
Autumn, Park Theatre review - on stage as in politics, Brexit drama promises much, but loses its way
Gary Naylor
Theatre is a strange dish. A recipe can be stacked with delicious ingredients, cooked to exacting standards, taste-test beautifully at the halfway mark, yet leave you not quite full, not exactly satisfied, disappointed that it didn’t come out quite as expected when plated up. Autumn certainly looks good when you lay everything out on the kitchen table. A celebrated source novel from an award-winning writer (Ali Smith) adapted by Harry McDonald, fresh from his critical success, Foam, at the Finborough and Brexit, a hot button topic even eight years on, at its heart. Roll in a stellar cast Read more ...
Helen Hawkins
There is star casting, and there is casting the right star – not the same thing. The Donmar’s new production, The Fear of 13, succeeds in the latter category, in spades. The star in question is Adrien Brody, a child actor who left stage work for the cinema more than three decades ago, where he became the youngest recipient of the Best Actor Oscar for The Pianist. More recently, he has also graced premium television series such as Succession and Peaky Blinders. At the Donmar he has been allied to the director Justin Martin, an award-winner for Prima Facie, Stranger Things and The Read more ...
Helen Hawkins
John Webster’s sour, bloody tale of brotherly greed and vice has been updated by the playwright Zinnie Harris, who also directs her own text at the Trafalgar. The title has a handy [of Malfi] added. But do we really know where we are? Or which century we’re watching?Shortening the title to The Duchess seems to indicate a more generic lead character, less anchored to a time or place. But the production wants it both ways. The action is taking place not far from Naples, according to Harris’s text, pace the original, but not in the early 16th century Italy of the original. The costuming here is Read more ...