Theatre Reviews
The River, Royal Court TheatreSaturday, 27 October 2012
Still waters run deep, but that truism barely hints at the quiet power of The River, the eagerly awaited new play from Jez Butterworth (writer) and Ian Rickson (director) whose collaboration yet again gives cause for cheer. Read more...
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55 Days, Hampstead TheatreThursday, 25 October 2012
In the past few years, without any fanfare, the veteran playwright and Spooks script-writer Howard Brenton has not only made a comeback, but also become the chief chronicler of the nation’s past. One year he is telling the story of Harold Macmillan in Never So Good, then he’s doing a version of The Ragged Trousered Philanthropists. Read more... |
Loserville the MusicalThursday, 18 October 2012
If all of Loserville were as arresting and witty as its design, the West End would finally have what it hasn't offered playgoers in years: a buoyant British musical not reliant on a celebrated back catalogue or penned by Andrew Lloyd Webber and his various writing partners over time. Read more... |
Red Velvet, Tricycle TheatreWednesday, 17 October 2012
Wow, what a lot of debuts. Adrian Lester (Hustle, Bonekickers, Merlin) makes his Tricycle Theatre debut in this new play about a black actor in Regency London, and it’s written by his wife, the actress Lolita Chakrabarti. The play is her first substantial piece, and it’s also the opener in the new regime of incoming artistic director Indhu Rubasingham, who directs. Read more... |
Cat on a Hot Tin Roof, West Yorkshire PlayhouseMonday, 15 October 2012
It’s not easy bringing the Mississippi delta to Leeds city centre – yet here its hanging moss and tea-coloured waters fill out every inch of the expansive Quarry stage. Indeed, all that’s missing from Francis O’Connor’s remarkable set is a hungry alligator or two, though in the drama for which it provides a backdrop – Tennessee Williams’s Pulitzer Prize-winning classic about death, desire and deceit – the human characters are capable of inflicting quite enough damage on themselves. Read more... |
You Can Still Make a Killing, Southwark PlayhouseMonday, 15 October 2012
Banking and the financial world may have gone into free-fall, but there are still killings to be made. Particularly personal ones. Nicholas Pierpan’s You Can Still Make a Killing is a morality tale for our time, a revenge tragedy without corpses, except for reputations. And, in the City, reputation – or rather perception - is everything. Read more... |
All That Fall, Jermyn Street TheatreFriday, 12 October 2012
Samuel Beckett recalled sinking into a "whirl of depression" while writing All That Fall. Audiences at this production - those, that is, who have managed to score a ticket for this short, sold-out run - are unlikely to emerge into Jermyn Street in a similarly gloomy frame of mind. Read more... |
Desire Under the Elms, Lyric HammersmithFriday, 12 October 2012
Pity the A-level English student: for them the “rarely seen masterpieces” that creep onto the curriculum and into the theatres. Judging from the frequently giggling reaction of the audience last night of around 100 17- and 18-year-olds, Eugene O’Neill’s tricky tragedy Desire Under the Elms isn’t going to be winning too many A*s among them next summer. Which is a pity, because this is a tough, gnarled play which strips human instincts to their bones. Read more... |
Damned by Despair, National TheatreThursday, 11 October 2012
Spain's Golden Age turns unaccountably to dross in Damned by Despair, the Tirso de Molina play that is a good half-hour shorter than the running time given in the programme but won't (in this production, anyway) ever be brief enough for some. Read more... |
This House, National TheatreWednesday, 10 October 2012
Over the past few years, the 1970s have made a cultural comeback. Read more... |
Pages
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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