Theatre Reviews

Globe to Globe: Romeo and Juliet, Shakespeare's Globe

Fisun Güner Monday, 21 May 2012

The Globe to Globe season has enjoyed tremendous goodwill from audiences and critics alike. And this has been largely repaid, for it’s been a joy and a wonder to learn just how much contemporary relevance can be mined and brought into sharp relief, and with such audacious wit, when stripped of the plays’ native tongue. So one wishes one could keep up the momentum of goodwill for every production.

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Globe to Globe: King Lear, Shakespeare's Globe

Josh Spero Sunday, 20 May 2012

Like a post-Soviet Oedipal X-Factor, the Belarus Free Theatre on Friday night gave one of the greatest productions of King Lear London has ever seen. Forget our local Lears, with naked theatrical knights and casts in emotional straitjackets: this was as cruel, as beautiful, as you could want. It shook the Globe from the yard to the rafters.

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Globe to Globe: King John, Shakespeare's Globe

Tom Birchenough Saturday, 19 May 2012

You might have wondered if, when Armenia was offered King John as part of the Globe to Globe season, they felt they’d drawn the short straw. Not a bit of it.

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What the Butler Saw, Vaudeville Theatre

Matt Wolf Friday, 18 May 2012

Clothes are shed, sensibilities skewered and political correctness defiantly ignored in this latest London revival of Joe Orton's wonderful play (the fourth, for what it's worth, in the capital during my time). But what most distinguishes Sean Foley's take on Orton's posthumously produced, gallopingly rude farce is the noise level of a show that is here played at a near frenzy throughout.

The Sunshine Boys, Savoy Theatre

Bruce Dessau Friday, 18 May 2012

Being in a comedy double act is like being in a marriage. Except, as half of a humorous twosome once told me, with less sex. There are ups and downs and the chances of splitting are high. The push-pull tensions of the double act are explored in Neil Simon's The Sunshine Boys, first seen on Broadway in 1972, then famously on film in 1975 with Walter Matthau and George Burns. Thirty years on from its premiere, is the magic still there?

Globe to Globe: Henry IV, Parts 1 and 2, Shakespeare's Globe

Carmel Doohan Thursday, 17 May 2012

The two parts of Henry IV parts 1 and 2 are very macho plays. Men drink, tell rude jokes, strut and lie their way into power and influence. In Globe to Globe's Latin American takes on the Bard, some hijo de puta and de puta madre seem fitting additions. In these two productions, machismo, in the style of the gangster or the swagger of the outlaw, was never in short supply.

Detroit, National Theatre

David Benedict Wednesday, 16 May 2012

The competition for best dramatic use of a coffee table is won hands down by the wagon-wheel one that prompts a major argument in When Harry Met Sally. Runner-up is the one that appears in Detroit. So deliciously hideous that it gets its own laugh, the symbolic table from Ben and Mary’s nice suburban home is given to new neighbours Sharon and Kenny whose total lack of furniture stems from the fact that they only recently met during a spell in major substance-abuse rehab.

Globe to Globe: Henry VI, Parts 1, 2 and 3, Shakespeare's Globe

Igor Toronyi-Lalic Monday, 14 May 2012

There was always going to be one Borat moment in this festival. And it came courtesy of the Albanians, who, for comic effect, in the middle of their Henry VI, Part 2 indulged in the gratuitous harassment of a mentally handicapped person. It got the biggest laugh of the show from the expats, suggesting it's still quite a rib-tickler, disabled-bashing, in Albanian culture. It was an instructive reminder that you invite the globe to the Globe at your moral peril.

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Little Dogs, National Theatre Wales/Frantic Assembly

Dylan Moore Monday, 14 May 2012

Ever since the Polish photographer Maciej Dakowicz documented the debauchery of South Wales nightlife in a series called Cardiff at Night, there has been a kind of perverse glamour in images of scantily clad girls and young women falling down drunk whilst roaming gangs of check-shirted “roiders” look on gormlessly.

Brighton Festival 2012: Interiors, Motor Show, Land's End

bella Todd Sunday, 13 May 2012

From theatre viewed through peepholes and camera obscuras to a dance piece you watch across a wasteland while wearing headphones, this year the Brighton Festival and Brighton Festival Fringe seem to be fixated with ways of seeing. Hot on the heels of the premiere of dreamthinkspeak’s fishbowl Hamlet came a revival of Vanishing Point’s gorgeous Interior, in which we watched a wintry dinner party unfold wordlessly through the windows of the house.

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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*
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