tue 27/02/2024

Theatre Interviews

Q&A Special: Actor Nigel Lindsay

Jasper Rees

His only previous visit to musical theatre was as Nathan Detroit in the Donmar’s West End production of Guys and Dolls. And now Lindsay sits in the sumptuous dressing room – it feels more like a small flat – at Drury Lane once occupied, he is proud to note, by the likes of Rex Harrison. The first role in which he caught the eye was as Mugsy, the eternally optimistic victim in Patrick Marber’s poker play Dealer’s Choice.

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theartsdesk Q&A: Actor Christopher Eccleston

Hilary Whitney

Christopher Eccleston’s performances have a raw-boned, visceral quality which makes him a sometimes unsettling - but always compelling - actor to watch.

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theartsdesk Q&A: Artist/Dramatist John Byrne

graeme Thomson

"I’m very hard to categorise,” says John Byrne (b 1940), tugging at his magnificent moustache. A restless, defiant, shape-shifting polymath who was an exponent of multimedia long before computers ruled the world, Byrne's singular career is perhaps doomed to gentle underappreciation simply because he can do so much so well. “If you’re hard to categorise they don’t like that." He peers into his coffee as though looking for something. "Whoever 'they' are.”

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Q&A: Playwright Nick Dear on Adapting Frankenstein

theartsdesk

It is one of the most hotly anticipated new productions at the National Theatre in years, for which all but day seats have long since been sold out. Danny Boyle has been lured back to the stage to direct a version of Mary Shelley’s Frankenstein.

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theartsdesk Q&A: Director Robert Lepage

Fisun Güner

Robert Lepage is not just one of the most fêted and sought-after theatre directors in the world; he is also one of the most prolific. His international breakthrough came with The Dragon Trilogy in 1985, and since then the French-Canadian’s work has been seen across the globe.

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theartsdesk Q&A: Actor Toby Jones

Jasper Rees

Toby Jones’s cameo in Notting Hill – he was cast as an over-eager fan of Julia Roberts - was deposited on the cutting-room floor. Most actors would have chalked it up as one of life’s bum raps. Jones, who while on set for his short scene was also failing to rent a flat in Notting Hill, fashioned a drama out of a double crisis. To perform Missing Reel he obtained permission to show the suppressed material.

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theartsdesk Q&A: Actor Toby Jones

Jasper Rees

Toby Jones’s cameo in Notting Hill – he was cast as an over-eager fan of Julia Roberts - was deposited on the cutting-room floor. Most actors would have chalked it up as one of life’s bum raps. Jones, who while on set for his short scene was also failing to rent a flat in Notting Hill, fashioned a drama out of a double crisis. To perform Missing Reel he obtained permission to show the suppressed material.

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theartsdesk Q&A: Actress Eileen Atkins

Jasper Rees

Eileen Atkins (b 1934) acquired long-overdue fame with her performance in the BBC adaptation of Elizabeth Gaskell’s Cranford. Her desiccated spinster was the indisputed star turn until death did us part. It’s taken a while. Aside from half a century’s commitment to the classics and new plays, unlike the other more celebrated DBEs she has had a parallel career as a writer. There have been two plays about Virginia Woolf, as well as a screenplay of Mrs Dalloway.

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Q&A Special: Actor Derek Jacobi

Jasper Rees

Derek Jacobi (b 1938) grew up in Leytonstone. His father was a tobacconist, his mother worked in a department store. Although he entered the profession in the great age of social mobility in the early 1960s, no one could have predicted that he would go on to play so many English kings - Edward II, a couple of Henry VIIIs and Shakespeare’s two Richards - as well as a Spanish one in Don Carlos. This month he prepares to play another king of Albion: Lear, against which all classical...

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Debate: Should Theatre Be On Television?

theartsdesk Get thee to an edit suite: David Tennant's RSC Hamlet on screen with Mariah Gale as Ophelia

The relationship between stage and screen has always been fraught with antagonism and suspicion. One working in two dimensions, the other in three, they don't speak the same visual language. But recent events have helped to eat away at the status quo. On the one hand, theatre has grown increasingly intrigued by the design properties of film. Flat screens have popped up all over the place, notably in Katie Mitchell’s National shows and at the more ambitious work of the ENO. Meanwhile,...

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Advertising feature

★★★★★

A compulsive, involving, emotionally stirring evening – theatre’s answer to a page-turner.
The Observer, Kate Kellaway

 

Direct from a sold-out season at Kiln Theatre the five star, hit play, The Son, is now playing at the Duke of York’s Theatre for a strictly limited season.

 

★★★★★

This final part of Florian Zeller’s trilogy is the most powerful of all.
The Times, Ann Treneman

 

Written by the internationally acclaimed Florian Zeller (The Father, The Mother), lauded by The Guardian as ‘the most exciting playwright of our time’, The Son is directed by the award-winning Michael Longhurst.

 

Book by 30 September and get tickets from £15*
with no booking fee.


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