Theatre
aleks.sierz
The Bush Theatre is becoming a garden centre. Earlier this year, the venue staged Coral Wylie’s Lavender, Hyacinth, Violet, Yew, which featured an abundance of plant life, and now it’s the turn of talented novelist and screenwriter Danny James King, whose Miss Myrtle’s Garden has Wylie aptly listed as its botanical consultant. Directed by incoming artistic director Taio Lawson, it is a study of loss, love and ageing set initially amid the weeds and neglected plants of 82-year-old Miss Myrtle’s garden. She is the widow of Melrose, both being Windrush Generation migrants who have Read more ...
Fiddler on the Roof, Barbican review - lean, muscular delivery ensures that every emotion rings true
Rachel Halliburton
It’s always a risk when a production changes venue. In the curious alchemy of live performance, no-one can be sure whether a shift in surroundings might rob a show of the glitter and allure it once had.For Jordan Fein’s impassioned, magical Fiddler on the Roof that must have been doubly the case after critics raved about the ingenious way he had worked with Regent’s Park Open Air Theatre’s capricious outdoor setting. The timing of the song "Sunrise, Sunset" – marking the wedding of Tevye’s daughter Tzeitel – to fall shortly after dark was a particular cause for delight.So it’s a pleasure to Read more ...
Heather Neill
Terence Rattigan's rehabilitation – some might almost say deification – as a leading 20th century playwright is complete. As well as academic studies, biographies and numerous highly respected revivals of his work, there is a growing clamour to accord him the ultimate, deserved, honour: a theatre bearing his name.The latest production of The Deep Blue Sea, starring Tamsin Greig and receiving plaudits in the West End, is just the most recent revival in the ongoing reappraisal of Rattigan's work elsewhere. The Orange Tree has already played a part in this, with productions of French Without Read more ...
Helen Hawkins
In 2012, the award-winning American writer Sarah Ruhl met a Yale playwriting student who became a special part of her life. Out of their friendship she created Letters from Max, a 2018 book of their correspondence, then a play performed in New York in 2023.On the page, it’s a piece with a level of diction befitting two poets who like to recite their latest work to each other, sometimes more like a poetry reading than a play. But interspersed is the sparky dialogue between the two, the skinny student in his early twenties and the established playwright, mother of three, two decades older. Read more ...
Rachel Halliburton
This charmingly eloquent semi-autobiographical show – which first played at the Bush Theatre in 2022 – tells the story of a girl whose life growing up in a council flat is transformed by the arrival of an upright piano. Lylah – like the show’s creator, Anoushka Lucas – is the daughter of an Anglo-Indian father and a French Cameroonian mother, and her subtle, often humorous, exploration of her racial identity becomes intertwined with who she is as a musician.Lucas has won several plaudits as an actor and singer in shows including Regent Park Open Air Theatre’s Jesus Christ Superstar and the Read more ...
Gary Naylor
MOR. Twee. Unashamedly crowdpleasing. Are such descriptors indicative of a tedious night in the stalls? For your reviewer, who has become jaded very quickly with a myriad of searing examinations of mental health crises and wake up calls about the forthcoming environmental collapse, I often find comfort in material more suited to the large print section of the library. But the show still has to be good and that’s a big challenge when dealing with "smaller" subject matter.We open on a large scale doll’s house, and, to be fair, the allusions to Ibsen, Chekhov, Williams et al don’t ever fade away Read more ...
Gary Naylor
As a regular theatregoer, you learn pretty quickly that there’s no story too bizarre to work as a musical. Cannibalistic murders in Victorian London? Faking a miracle in smalltown USA? The westernisation of Japan? And that’s just Sondheim…Aristophanes gets an MT makeover in South London. The Frogs, his comedy telling the tale of Dionysos’ journey to Hades, was freely adapted by Burt Shevelove 50 years ago and supplemented by Nathan Lane with, crucially, songs by Stephen Sondheim. It concerns a quest to bring back George Bernard Shaw to heal an ailing world through the power of theatre! The Read more ...
Matt Wolf
How do you make Bernard Shaw sear the stage anew? You can trim the text, as the director Dominic Cooke has, bringing this prolix writer's 1893 play in under the two-hour mark, no interval. And you can introduce a non-speaking ensemble of women in period bloomers and the like as a silent commentary on the depredations indicated in the text. Best of all, perhaps, is to cast as the brothel-keeper, Kitty Warren, and her Cambridge-educated scold of a daughter, Vivie, the actual mother-daughter pairing of Imelda Staunton and the stage legend's own daughter, the splendid Bessie Carter, who was Read more ...
Rachel Halliburton
A society ruled by hysteria. Lurid lies that carry more currency than reality. There’s no shortage of reasons that Arthur Miller’s 1953 drama about witchcraft and revenge resonates so strongly today.In an article in the New Yorker he described how he wrote the play as an “act of desperation” that was “motivated in some great part by the paralysis that had set in among many liberals”. Back then, the paralysis was in response to the tyranny of McCarthyism – now it’s the result of more complex forces that many of us are still trying to decode.Ola Ince’s blistering, humane production paints the Read more ...
Helen Hawkins
The plays of David Ireland have a tendency to build to an explosion, after long stretches of caustic dialogue and very funny banter. The Fifth Step, though, is a gentler beast whose humour ends with a simple visual gag. Maybe because this is more personally sensitive territory?Ireland sets the piece in an AA meeting place, somewhere he got to know well in his early twenties in Glasgow. As props, there are just a few folding chairs and a refreshments table with paper cups. The sides of the performing space are raised, turning it into a kind of arena. There, a succession of bouts takes place Read more ...
Matt Wolf
The water proves newly inviting in The Deep Blue Sea, Terence Rattigan's mournful 1952 play that some while ago established its status as an English classic. Lindsay Posner's production, first seen in Bath with one major change of cast since then, takes its time, and leading lady Tamsin Greig often speaks in a stage whisper requiring you to lean into the words. (This is that rare production that, praise be, is unamplified.) But what develops is a study in coping that is required once people arrive at a place beyond hope, not to mention a scalding portrait of the lacerating effect of Read more ...
Matt Wolf
It's one thing to be indebted to a playwright, as Tom Stoppard and Harold Pinter have been at different times to Beckett, or Sondheim's latest musical is to Sartre. But Conor McPherson's The Brightening Air – the title itself is derived from Yeats – comes so fully steeped in Chekhov that you may wonder whether this portrait of rural Ireland in 1980s County Sligo hasn't bled into provincial Russia from nearly a century before, or vice-versa.The protean Irishman's first original play in over a decade, this play can be seen as a response to his starry adaptation of Uncle Vanya, which was on the Read more ...