Theatre Reviews
Prom 21: Kiss Me, Kate, John Wilson OrchestraSunday, 03 August 2014
“Another Op'nin', Another Show”. The first musical number of Cole Porter's Kiss Me, Kate sets the scene for a group of actors and hoofers to brush up their Shakespeare, cross their fingers and hold on to their hearts, and to hope that not too much goes wrong with their show in late 1940s Baltimore. Read more...
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A Streetcar Named Desire, Young VicTuesday, 29 July 2014
The latest production of Tennessee Williams’s sultry, brutal yet poetic masterpiece is mainstream theatre that dares to go out on a limb. Directed by Benedict Andrews, it may occasionally miss a beat, but its risk-taking comes with an innate sense of the play’s scorching pathos and an unnerving, dare one say exhilarating taste for the jugular that matches that of its primal male. Read more... |
Porgy and Bess, Regent's Park Open Air TheatreTuesday, 29 July 2014
It should work as pure musical theatre. Yet what precisely is Gershwin’s - or rather “The Gershwins’”, as this title frames it, though Ira wasn’t quite Gilbert or Brecht - Porgy and Bess? An opera? Trevor Nunn made the three-hour-plus score, much cut here, dazzle at Glyndebourne and Covent Garden. Read more... |
A Bright Room Called Day, Southwark PlayhouseMonday, 28 July 2014
The pivotal early 1930s period in which Herr Hitler overcame strong if fractured left-wing opposition should make for meaty drama, but the sluggish polemic currently occupying Southwark Playhouse will leave carnivorous viewers unsatiated. Read more... |
Natural Affection, Jermyn Street TheatreSunday, 27 July 2014
The work of William Inge doesn't get much of a look-in on British stages, but the American dramatist's depictions of frustrated aspirations and desires at work in small-town Midwestern lives - most famously realised in the Pulitzer-winning Picnic and Bus Stop - received major Broadway productions in the 1950s. Natural Affection is a later work dating from 1962 which foundered partly due to a New York City newspaper strike, not re-emerging until an Off Broadway run last autumn. Read more... |
The Nether, Royal Court TheatreThursday, 24 July 2014
There is so much public anxiety about paedophiles on the internet that it’s surprising that so few plays tackle the issue. Now Los Angeles playwright Jennifer Haley brings her new play on the subject, which won the 2012 Susan Smith Blackburn Prize, to London after winning awards in the States. Read more... |
Shakespeare in Love, Noël Coward TheatreThursday, 24 July 2014
“Comedy, and a bit with a dog.” That’s what audiences really want according to the hapless would-be impresario Mr Henslowe, and that’s certainly what they get in Lee Hall’s new stage adaptation of John Madden’s 1998 film Shakespeare in Love – several bits with a dog, in fact. Read more... |
Holy Warriors, Shakespeare’s GlobeThursday, 24 July 2014
While it is something of a cliché to be reminded that forgetting the past is a sure way of repeating it, the problems of the Middle East are so acute that this thought might be worth taking seriously. In Holy Warriors, playwright David Eldridge’s new look at the struggle for Jerusalem and the Holy Land from the Middle Ages to the present day, the scope is ambitious and the subject matter as timely as can be. But is the play any good? Read more... |
Medea, National TheatreTuesday, 22 July 2014
We know how the story ends, but then so did Euripides' first audience in Athens in 431 BC. Medea was already a familiar character of myth, a sorceress whose ungovernable passion for Jason led her to commit horrible murders when he abandoned her for another woman. Now, as in the Golden Age of Greek drama, the chief interest is in the way the tale is told. Read more... |
The Importance of Being Earnest, Harold Pinter TheatreFriday, 18 July 2014
“Some might say we’re getting too old for this sort of thing,” declares Martin Jarvis’s Jack Worthing, going off Wlldean piste. Well, we did wonder whether the reunion of Jarvis with Nigel Havers’s Algernon after 32 years might not be some sort of vanity Earnest. 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*
with no booking fee.
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