Theatre Reviews
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... |
The Country Wife, Royal Exchange, ManchesterTuesday, 18 September 2012
What’s in a name? Pinchwife, Fidget, Horner, Squeamish, Sparkish… William Wycherley labelled his characters blatantly. No one is hornier than Horner, the womaniser who puts it about (sorry) that he is impotent after surgery for the pox. Pinchwife’s wife gets pinched and no one is more cuckolded than he. Mind you, he takes the “if you can’t beat 'em, join ’em” approach in the end when he says “cuckolds, like lovers, should themselves deceive”. Read more... |
Love and Information, Royal Court TheatreSaturday, 15 September 2012
In the non-Olympic sport called “Name Britain’s greatest living playwright”, most of the contestants have always been men. Nowadays, that is all changed and the odds-on favourite would be Caryl Churchill, who has been creating provocative and boundary-busting drama for four decades. Read more... |
Three Sisters, Young VicSaturday, 15 September 2012
Updating Chekhov is nothing new, despite the preliminary flurries about this production. Yet the singular directorial take can only highlight the master’s modernity in the bigger issues. If Australian iconoclast Benedict Andrews had continued as he seems to begin, with a Stanislavsky-like realism for today, passing anachronisms like the optimism for a better life in centuries to come, the idleness of a servanted household and a shockingly abrupt duel might jar. Read more... |
Wild Oats, Bristol Old VicFriday, 14 September 2012
John O’Keeffe’s 18th century classic Wild Oats is a play about players and an uproarious love letter to the theatre: a perfect fit for the re-opening, after 18 months of massive refurbishment, of Bristol’s Old Vic, originally constructed in 1766 and the oldest surviving working theatre in the UK. Read more... |
Hedda Gabler, Old VicThursday, 13 September 2012
Hedda Gabler – the doomy tragedy, the one with the pistol, the “female Hamlet”. We all know the score when it comes to Ibsen. All, that is, except apparently for Sheridan Smith, who recently admitted in an interview that she hadn’t heard of the play before she was asked to take on the lead. Read more... |
King Lear, Almeida TheatreWednesday, 12 September 2012
He arrives in a blaze of light and trumpets, but Jonathan Pryce’s King Lear seems as much charming, lovable father as imposing monarch as he sets about carving up his kingdom. What follows, though, brings a prickling sense of horror, as Michael Attenborough’s production lends a disturbing dimension to Shakespeare’s bleak tragedy. 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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