Theatre Reviews
This House, National TheatreWednesday, 10 October 2012
Over the past few years, the 1970s have made a cultural comeback. Read more... |
Cabaret, Savoy TheatreWednesday, 10 October 2012
"All this hatred is exhausting," or so remarks Will Young's ceaselessly grimace-prone Emcee in Cabaret in a comment that encapsulates the evening as a whole. Returning to a show he directed to acclaim on the West End six years ago, the director Rufus Norris has reconsidered John Kander and Fred Ebb's song-and-dance classic with less nudity, stronger voices, and lots of stage business where its bite should be. Read more... |
Lighthearted Intercourse, Octagon Theatre, BoltonSunday, 07 October 2012
Like several of Bill Naughton’s plays, Lighthearted Intercourse started life as a BBC Third Programme drama. When it was broadcast, in 1963, its title was, less provocatively, November Day. Subsequently, it was rejected for the stage by producer Binkie Beaumont, who apparently tried to get Michael Caine or Albert Finney for the lead role of Joe, considered an “Alfie-size” part by the author. Read more... |
Enquirer, National Theatre of ScotlandSaturday, 06 October 2012
Site-specific theatre is hard – where to put the audience, can they stand for nearly two hours, how do we enable them to see/hear, most importantly, what is the purpose of the site and how is it to be used? Verbatim theatre, too, is hard – how to shape a narrative, how to develop characters. Put the two genres together, and what have you got? A well-intentioned, rather unfocused mess, to be honest. Read more... |
Scenes From An Execution, National TheatreFriday, 05 October 2012
Walkouts are always intriguing. When audience members leave before the final curtain, it’s usually a sign that the play is too powerful, or too scandalous, or maybe just not very good. After reports that during previews many people aren’t returning after the interval in this revival of Howard Barker’s 1985 play, Scenes from an Execution, you have to wonder — is it the play or the production? Or is the National’s audience too conservative to appreciate this remarkable play? Read more... |
Our Boys, Duchess TheatreThursday, 04 October 2012
Our Boys shines a light on young war veterans in a military hospital in the early Eighties. A hit at the Donmar Warehouse in 1995, this new revival balances brash humour alongside some moving moments, but ultimately lacks punch. Read more... |
Berenice, Donmar WarehouseWednesday, 03 October 2012
It’s not often that the works of 17th-century French classicist playwright Jean Racine make an appearance in the West End, and you can’t fault the ambition of the Donmar’s artistic director, Josie Rourke, in bringing us this new version of his romantic tragedy. But if it’s admirably courageous, truth be told, it makes for rather punitive viewing. Read more... |
Charley's Aunt, Menier Chocolate FactoryWednesday, 03 October 2012
A revival of an old play with a broad sense of fun and a turbo-charged role for a co-star of hit sitcom Gavin & Stacey? No, not One Man, Two Guvnors, but this well-dressed production of the classy 1892 farce by Brandon Thomas starring Mathew Horne. One cannot help thinking that the Menier is hoping that this might do for Horne what One Man... did for James Corden. Read more... |
Treasured, Anglican Cathedral, LiverpoolTuesday, 02 October 2012
You could say that the Titanic has been done to death, and that any new show would really need to say something different, something so far unknown, unearth a new angle, find new facts. To some extent, Treasured does that. Who’s ever heard of Mouser, the Titanic cat, who is supposed to have carried all six of her new-born kittens off the ship in Southampton? Allegedly her feline prescience sensed impending doom. Read more... |
Private Lives, Chichester Festival TheatreSaturday, 29 September 2012
“Has it ever occurred to you that flippancy might cover a very real embarrassment?" Elyot's response to fulminating Victor is a line of defence – and since he has run off with Victor's wife Amanda he has a good deal of defending to do. But the line is also Coward’s statement of intent. It's a direction as to how Private Lives works and is the key to why it’s not just his funniest and finest play but one of the greatest in the 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*
with no booking fee.
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