Theatre Reviews
St John's Night, Jermyn Street TheatreMonday, 16 July 2012
Before Ibsen was, well, Ibsen, he had a successful career as a failed playwright. Producing works on a spectrum between unremarkable and outright bad, he muddled his way through to his late thirties when the publication of Brand derailed what might otherwise have been a spectacularly mediocre life’s work. Read more... |
Mottled Lines, Orange Tree TheatreWednesday, 11 July 2012
At the end of The Riots, the Tricycle Theatre’s verbatim response to last year’s upheavals edited by Gillian Slovo and Cressida Brown, a local Muslim whose home was burnt down in Tottenham was asked to give his view on why it had happened. He summed it up with three words: “Just – angry – people.” Read more... |
A Doll's House, Young VicTuesday, 10 July 2012
The front door of Ibsen’s A Doll’s House may first have slammed shut in 1879, but it’s a sound whose echoes and re-echoes continue to resonate. The crash of feminist selfhood, bursting through the catatonic tranquility of domestic order, originally scandalised 19th-century Norwegian society, but with scandal now rather harder to come by, Ibsen’s play has acquired a quieter, but infinitely more pervasive impact. Read more... |
The Taming of the Shrew, Shakespeare's GlobeThursday, 05 July 2012
The Taming of the Shrew celebrates its own rumbustious, raucous (mis)behaviour, so why shouldn't Shakespeare's comedy be granted a production that follows suit? From an opening gambit involving bodily fluids sprayed in the direction of the groundlings to a food fight later that would put the bad boys of Posh to shame, Toby Frow's directorial debut at Shakespeare's Globe turns up the volume to consistently giddy effect. Read more... |
Dandy Dick, Theatre Royal BrightonWednesday, 04 July 2012
"I can’t live without horse flesh, if it’s only a piece of cat’s meat on a skewer.” So declares Patricia Hodge’s gung-ho racing fanatic Georgina in this straight-down-the-line revival of Pinero’s 125-year-old caper, which requires cast and audience to subsist on the theatrical equivalent of the latter. Read more... |
The Prophet, Gate TheatreTuesday, 26 June 2012
The Arab Spring has arguably been the most important international event after the credit crunch, yet it seems to be of little interest to British playwrights. Parochial, obsessed with writing only what they know, they have been put to shame by Hassan Abdulrazzak, an Iraqi playwright who was born in Czechoslovakia and now lives in London, working as a scientist. Read more... |
Julius Caesar, BBC Four/Match of the Day Live, BBC OneMonday, 25 June 2012
“Let slip the dogs of war.” Somewhere in the bowels of Kiev’s Olympic Stadium, a football coach will have said something along these lines around the half seven mark. Meanwhile, over on the clever-clever channel, an alternative meeting between England and Italy took place. Read more... |
Democracy, Old VicFriday, 22 June 2012
You might not think that a drama about German parliamentary politics in the 1970s would be of great urgency today. But when Democracy, Michael Frayn's play about Willy Brandt and the Günter Guillaume spy scandal, first opened in 2003, Brits swiftly discerned links with another charismatic politician, the first left-wing leader in decades, while across the Atlantic the womanising German Chancellor looked very much like Bill Clinton. Read more... |
LIFT 2012: The Coming Storm, BACThursday, 21 June 2012
You know that feeling when you start telling a story in the pub only to realise that no one is listening? You look up to see that that two people at the end have started a new conversation among themselves and the rest are laughing about something someone else said earlier? You falter a little, try to catch someone’s eye and wonder if you should just plough on or give up. This could be what Forced Entertainment's new show The Coming Storm is about, but it's hard to tell. Read more... |
The Last of the Haussmans, National TheatreWednesday, 20 June 2012
When does an urgent new trend become a theatre cliché? Over the past couple of years, the idea of generational conflict between the have-it-all baby boomers and the have-nothing-but-debts youngsters has appeared in plays such as James Graham’s The Whisky Taster and Mike Bartlett’s Love, Love, Love. Now the South Bank flagship, in a production starring national treasure Julie Walters, enters the fray with actor Stephen Beresford’s first play, which opened last night. 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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