Theatre Reviews
Much Ado About Nothing, Noël Coward TheatreFriday, 28 September 2012
Never quite at the top of the Shakespearean canon, Much Ado About Nothing now seems more vital and adaptable than ever – and vastly darker than, say, Kenneth Branagh’s sun-kissed screen romp acknowledged back in 1993. The cult director Joss Whedon unveiled his low-budget, film noir version earlier this month at the Toronto Film Festival to rave reviews. Read more... |
The Guid Sisters, Royal Lyceum, EdinburghWednesday, 26 September 2012
The 1989 production at the Tron in Glasgow of Bill Findlay and Martin Bowman’s translation of Les Belles-Soeurs, the 1965 play by Québécois writer Michel Tremblay, has become a landmark event in Scottish theatre. Read more... |
Let It Be, Prince of Wales TheatreTuesday, 25 September 2012
In Beatles’ lore, the Prince of Wales Theatre is totemic. Here, on 4 November 1963, the cheeky quartet played the Royal Command Performance before the Queen Mother and Princess Margaret. John Lennon quipped, “Would the people in the cheaper seats clap your hands? And the rest of you, if you’ll just rattle your jewellery”. Now, 50 years on from the release of their first single, a tribute of sorts is taking place on the same stage with the arrival of Let It Be in the West End. Read more... |
Mudlarks, Bush TheatreSaturday, 22 September 2012
The popular image of the state-of-the-nation play is that of a large-scale, big-cast drama that has an epic time span and lots of highly articulate speeches that analyse the way we are. But sometimes a small-cast play with a much more modest range can be equally successful in saying something worth hearing not only about a handful of characters, but also about contemporary Britain. Such a play is Vickie Donoghue’s powerful debut, which was first seen at the HighTide Festival in May. Read more... |
Mademoiselle Julie, Barbican TheatreFriday, 21 September 2012
Let one visual artist and one fashion designer loose on a theatre production and you may find both set and costumes upstaging the actors. Laurent P. Berger has designed a Miers Van der Rohe-type modernist glass box, with luxurious white surfaces and Dan Flavin-esque tube lighting, while Lanvin designer Alber Elbaz has dressed the star, Juliette Binoche, in a show-stopping full-length gold-sequinned number slashed to the thigh. Read more... |
Bully Boy, St James TheatreThursday, 20 September 2012
The St James Theatre has risen, phoenix-like, almost literally from the ashes of the Westminster Theatre, which was first a chapel, then a cinema and latterly a drama theatre that played host to productions of Oscar Wilde and Harley Granville Barker plays, among many others, and where Tyrone Guthrie once directed. In the 1950s and 1960s it was home to a production company run by producer Tony Furness and actor Alan Badel. Read more... |
Hindle Wakes, Finborough Theatre/The Man on Her Mind, Charing Cross TheatreThursday, 20 September 2012
When Hindle Wakes opened in 1912 in London, the script was burned in the street. Stanley Houghton, a member of the Manchester School of playwrights, had exposed one of society's double standards: that it was fine for a man to have a guiltless fling before marriage, but it was not acceptable for a woman. The problem with Bethan Dear's earnest revival is that the play no longer holds the same moral force. Read more... |
Blue/Orange, Theatre Royal BrightonWednesday, 19 September 2012
There’s a vivid moment in this Joe Penhall revival when Christopher, a psychiatric patient suspected of suffering from paranoid schizophrenia, finds himself caught in the linguistic crossfire between his two rival care-givers. Oblivious to everything but their argument, the doctors continue to shout across their subject as he sinks to the floor, the tormented vertex in a taut dramatic triangle. Read more... |
What You Will, Apollo TheatreWednesday, 19 September 2012
As long as Simon Callow is around, London’s theatre scene will never be short of one-man shows, nor of Shakespeare. A new pretender to the Shakespearian throne, a rival for the hollow crown (and, just occasionally, the hollow laugh) has however emerged in the form of Roger Rees’s What You Will – a brisk hour-and-a-half’s trot through Shakespeare’s greatest hits, with a little autobiography and a lot of accents thrown in. Read more... |
The Sacred Flame, English Touring TheatreTuesday, 18 September 2012
To revive a long-defunct play is dicing with death for a touring theatre company - was the play ahead of its time, or was it not good enough in any time? W Somerset Maugham was a commercial and critical giant in London theatre in the Twenties, but The Sacred Flame - an odd hybrid of whodunnit and (a)morality play - was one that didn’t make it out of its period. 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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