Theatre Reviews
The Last Days of Troy, Royal Exchange, ManchesterWednesday, 14 May 2014
By picking his way through Homer’s Iliad and Odyssey, and Virgil’s Aeneid - written 600 years later - Simon Armitage has it all, including the horse and Helen, each of whom in their way enable the hordes to breach Troy’s gates. What with that and the mingling of mortals and gods, not to mention the 100,000 troops that Agamemnon leads across the Aegean to rescue Helen, there’s a lot to attempt to pack into this theatre’s intimate space in three hours. Read more... |
The Pajama Game, Shaftesbury TheatreWednesday, 14 May 2014
On the Richter scale of catchiness Richard Adler and Jerry Ross’s songs for The Pajama Game are right up there. Quite who did what in their brief but shining songwriting partnership was never entirely clear, though Adler claimed supremacy in the music department. But one thing is clear: the man who brought them on and pushed them forward - the great Frank Loesser - is all over their work like a rash. Read more... |
Catch-22, Theatre Royal, BrightonTuesday, 13 May 2014
There are echoes of Lost in the crashed B-25 bomber that fills this often brilliant production with its rusting corpse. And they’re probably intended. Read more... |
Waiting For Godot, Arcola TheatreTuesday, 13 May 2014
Waiting For Godot is one of those plays which even those who have never seen know something about. “A tragicomedy in two acts,” as Beckett's subtitle described it, in which two tramps in bowler hats blether on about boots and a bloke who never appears, and where, in Irish critic Vivian Mercer's immortal words, “nothing happens twice”. And if they know nothing else about it, they surely can quote the play's most famous line: "We give birth astride of a grave." Read more... |
Yellow Face, National TheatreFriday, 09 May 2014
Yellow Face comes into the Shed a year after it was first greeted enthusiastically at the newly-opened Park Theatre. Its category was generally agreed to be "mockumentary". Fair enough as the author David Henry Hwang appears as a character in his own play, a mixture of autobiography and fiction. Read more... |
The Testament of Mary, BarbicanThursday, 08 May 2014
If you’re tempted to see Fiona Shaw’s impressive solo performance as Mary the mother of a son she can’t bring herself to name – and see it you probably should – then bear two things in mind. Read more... |
Bonanza, Sallis Benney Theatre, BrightonWednesday, 07 May 2014
When absorbing any artistic experience we can be confounded by our own expectations. Such was the case for me with Bonanza. Rather confusingly, Berlin are a Belgian outfit majoring in cinematic, multimedia theatre so, perhaps, I was expecting an element of performance to the evening, of direct human delivery. Read more... |
Raw Material: Llareggub Revisited, National Theatre WalesMonday, 05 May 2014
Dylan Thomas’ iconic play Under Milk Wood boasts a host of colourful characters. From the blind sea Captain Cat to the loveable Polly Garter washing the steps of the welfare hall, the play is a play for voices; a play for characters. Thomas, born in Swansea, thirst like a dredger, moved to Laugharne with his wife Caitlin in 1938. It was here he most likely got the inspiration for those characters, although the setting was allegedly inspired by New Quay in Ceredigion. Read more... |
Opus No.7, Corn Exchange, BrightonMonday, 05 May 2014
The UK premiere of Dmitry Krymov’s Opus No.7 begins at 5pm. When it finishes two and half hours later, a sun-dappled evening is bustling with the opening weekend of the Brighton Festival. At a nearby pub friends ask, “What was it like? What was it about?” For once I am lost for words. Describing Opus No.7 is akin to conveying an emotionally moving dream which, laid out prosaically, becomes gibberish. Read more... |
Titus Andronicus, Shakespeare's GlobeFriday, 02 May 2014
Lucy Bailey’s Titus Andronicus doesn’t pull any punches (or stabbings, smotherings and throat-slittings, for that matter). Bursting into a Globe smoky with incense, with shouts and drums, forcing itself at us and on us, this is a production whose physicality is its true language. Read more... |
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★★★★★
‘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*
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