Theatre
Veronica Lee
It's a strange thing that boxing, that most dramatic of sports, hasn't been the subject of more plays. It has a protagonist and antagonist, the ring is a ready-made stage, and the sport has thrown up more than its fair share of larger-than-life characters. So, as with buses, when you're waiting for one to come along, two arrive in quick succession; Roy Williams's Sucker Punch, which was at the Royal Court earlier this year, and now the equally brilliant Beautiful Burnout. Comparisons are invidious, so I won't make any, other than to remark that they are two very different beasts.Bryony Lavery Read more ...
Sam Marlowe
“I think men will enjoy the thriller aspect,” pronounces the heroine of this audaciously tortuous tale. “The machismo, the twists, the sex.” She may well be right; but if the men get all the best lines, there’s plenty here for women with an appetite for a bit of slick chicanery to relish too. Margaret, writer and celebrated shrink, is describing her own latest pot boiler. But she’s also summarising the plot of Richard Bean’s play, in turn based on David Mamet’s screenplay for the movie that marked his directorial screen debut back in 1987.It’s just one of many moments in this smart-talking, Read more ...
Veronica Lee
Design For Living is one of Noël Coward’s less performed plays but it fair crackles with bons mots - you know you’re in good hands when delightfully old-fashioned words like “horrid”, “bloody”, “cheap” and “vulgar” are tossed around with, well, gay abandon. What a shame, then, that Anthony Page’s production, while wonderfully easy on the eye and despite some spirited performances from its three leads, doesn’t quite catch fire.Even though it’s about three bohemians - Otto, a painter, playwright Leo and designer Gilda - nearly 80 years ago Design For Living was considered a very daring sex Read more ...
alexandra.coghlan
“I want to disrupt your sense of logic and show you something really thrilling,” explains a young academic, as her animated scribbling on the whiteboard gains pace and incomprehensible complexity. It’s a promise that Complicite’s A Disappearing Number – now making its third London appearance – has little trouble fulfilling. A maths lecture may seem an unprepossessing (if not downright unappealing) start to a play, but in loosing their theatre from the conventional unities of time, space, chronology and even the axes of vertical and horizontal, Complicite have also freed maths from the lecture Read more ...
aleks.sierz
What is with the National and history plays? On the large stages of this theatre, the main fare is historical accounts of contemporary problems. Maybe the programmers here imagine that their audiences, like T S Eliot’s humankind, “can’t bear very much reality”. History always has a nostalgic glow. So instead of commissioning a new play about the current war in Afghanistan, the flagship venue is staging American playwright J T Rogers’s drama about the Soviet Union’s 1980s occupation and the covert war, waged by the CIA, to stop the reds by any means necessary. But does this historical account Read more ...
barrie.rutter
Harold Brighouse was a star writer in his time. Today, he’s viewed as a one-play wonder. Everyone knows Hobson’s Choice, his tale of a Salford cobbler outfoxed by his daughters. A hit in New York before its London debut in 1916, the play has been studied by generations of schoolchildren and was made into a classic film by David Lean. But no one remembers much about Brighouse’s other writing. Yet he was prolific, with novels, journalism and 14 other plays to his name. I heard about one of them, The Game, a few years ago.It had fallen into such obscurity that even play publishers Samuel French Read more ...
alexandra.coghlan
It takes a brave company to revive a notorious Broadway flop. It takes an even braver one to supplement a small cast with an amateur, community chorus of over 60 people, onstage for almost the entire duration. The Young Vic can rarely be accused of lacking ambition, and their latest production – sprawling American musical The Human Comedy by Hair’s Galt MacDermot – is as ambitious as it gets. Reinventing a flawed fantasy-parable about community as genuine community theatre, they have tapped into a sincerity that no amount of slick Broadway effects could hope to match – a sincerity that, if it Read more ...
fisun.guner
Nell Leyshon’s new play takes place in a mental asylum closely based on London’s notorious Bethlem Hospital. Set in the 18th century, it is a bizarre fusion of farce, drama and drinking songs. Bethlem, of course, gave its name to the term “bedlam”, and bedlam certainly ensues in this rather chaotic and unfocused work.
The play attempts to evoke a Hogarthian vision of gin-soaked dissolution. Visually, at least, it succeeds: the stage is beset by a panoply of misfits, “lunaticks”, the wrongly certified, street musicians, down-and-outs and perpetrators of bizarre curatives for the Read more ...
alexandra.coghlan
That an action hero should have many lives at his disposal is a given in these days of bullet-proof Bonds and Bournes. Perhaps greatest in his reincarnatory skills however is Richard Hannay. Originally the cerebral hero of John Buchan’s novel The 39 Steps, Hannay was reinvented in an altogether more comedic vein for Hitchcock’s 1935 film, returned for two more celluloid outings (with a new interest in bomb-disposal), and landed a self-titled TV spin-off. Most recently it is his stage exploits that have captivated audiences. Celebrating four years in London’s West End this week, will the Read more ...
aleks.sierz
N F Simpson is a legendary absurdist playwright of 1950s and 1960s vintage. But while his 1957 debut, A Resounding Tinkle, got a revival some three years ago at the Donmar, he was widely believed to have given up writing more than 30 years ago. After all, he has a back catalogue of comic classics, and he celebrated his 91st birthday in January this year! But, true to form, the veteran humorist has surprised us once more. Last night, the Jermyn Street Theatre, a fringe venue a stone’s throw from Piccadilly Circus, premiered his brand new play.If So, Then Yes is a surreal comedy about a day in Read more ...
Jasper Rees
In 1913 a 25-old-year mathematician from Tamil Nadu sailed to England. He journeyed at the behest of a Cambridge professor who had been mesmerised by the display of untutored genius evident in the young Indian’s correspondence. Within four years the visitor had grown so depressed by his isolation that he attempted to throw himself under a train.Nearly a century on, the story of the collaboration between Srinivasa Ramanujan and G H Hardy began suddenly exciting the interest of storytellers. In 2007 there was a play premiered off Broadway by David Freeman called A First Class Man. Also in Read more ...
Veronica Lee
It’s a rather difficult task to describe anything that occurs in Ira Levin’s marvellous old warhorse of a comedy thriller as it contains so many twists, turns, bluffs, double bluffs, triple - even quadruple - bluffs that any description of the plot holds for only a few minutes of stage time. Added to which, nobody and nothing is exactly what they first appear to be.All of which makes Deathtrap a superb evening in the theatre in Matthew Warchus’s engaging revival, even if you know the plot from the 1982 film version with Michael Caine and Christopher Reeve, or saw one of the 1,793 performances Read more ...