adaptation
Graham Fuller
If post-war baroque cinema had been a school or movement rather than a style, its male icon would have been Anton Walbrook. Before Max Ophüls cast the suavely menacing Austrian actor as the master of ceremonies in La Ronde (1950) and as King Ludwig I in Lola Montès (1955), he starred as a German soldier who sells his soul for success at cards in the chilling supernatural drama The Queen of Spades (1949).The year before Walbrook had played Lermontov in Michael Powell and Emeric Pressburger’s The Red Shoes. His Herman in The Queen of Spades is another gimlet-eyed obsessive, but Walbrook knocked Read more ...
David Kettle
You’d hardly call a director particularly perceptive for highlighting Lady Macbeth as the true power behind the throne, scheming and cajoling her husband’s bloody ascent to the crown. In her audacious, provocative and thoroughly compelling Macbeth (an undoing), however, writer/director Zinnie Harris goes much, much further – so far, in fact, that a couple of her characters seem confused as to whether Lady Macbeth is herself the King.Harris modestly subtitles her rethink "after Shakespeare" – it’s the latest in her ongoing collection of rethinks of classic texts that have included This Read more ...
Gary Naylor
A play’s title can be an almost arbitrary matter – there’s no streetcar but plenty of desire in that one for example – and it might have crossed Kim Davies’ mind to call her play Ms Julie, since it is a reimagining of August Strindberg’s 1888 masterpiece, Miss Julie. Thankfully, that title was spiked and not just because it’s trite. Smoke gives us a key to unlock a complicated, clever and challenging play unafraid to treat its audience as grown-ups and all the more rewarding for that.Sami Fendall’s set comprises a square shallow pit filled with black sand with an upturned Read more ...
Laura de Lisle
Do you remember how the 1001 Nights ends? You know how it starts: Scheherazade has been married to a king who kills his brides the day after he marries them. She tells him a story so good that he simply has to know what happens next, and she survives the next day. This goes on for 1001 nights, until… what?The inherently cyclical nature of the source material of the new play Hakawatis: Women of the Arabian Nights is a problem that writer Hannah Khalil never quite solves. But Pooja Ghai’s production at the Globe’s Sam Wanamaker Playhouse, a collaboration with theatre company Tamasha, is Read more ...
Jenny Gilbert
Matthew Bourne is not the first choreographer to tinker with the story of The Sleeping Beauty and he won't be the last, such is the lure of Tchaikovsky's score and the potency of the plot.Good and evil, beauty and decrepitude, the suspended animation of adolescence – these are themes that will always invite a fresh spin. But Bourne’s version, now on its third season at Sadler’s Wells, signally fails to shed any new light on the archetypal tale of youth and hope triumphing over old grudges. The old ballet does this very well, some would say definitively. But by imposing an alien aesthetic on Read more ...
Gary Naylor
We’ve had 75 years to get used to Scrooge McDuck, so we can hardly complain if the Americans indulge in a little cultural appropriation and send Charles Dickens’ misanthrope to Depression-era Tennessee for another whirl on the catharsis-redemption ride. And, even if we Brits may feel a bit sniffy about Scrooge’s reinvention, he’s been kidnapped by Dolly Parton, the patron saint of country songs, for a holiday run on the South Bank - so listen y’all, there’ll be no rootin’ tootin’ about that round these parts.Expanded from a 40-minute "park presentation" at Dollywood into a full-fledged Read more ...
Gary Naylor
Hovering way, way above us, three aptly named high fairies, in voluminous chiffon, open a show that may not be airy in the metaphorical sense, but invites us to cast our eyes upwards continually – no bad thing to do in the bleak midwinter of 2022. But does the show, delayed after one Covid cancellation after another on its spluttering debut 12 months ago, soar as a new show should? Give or take the odd clunky landing, it does.A fourth fairy, more Cindi Lauper on Top of the Pops back in the day than Diana at Westminster Abbey, is, like Clarence in It’s a Wonderful Life, hampered by an absence Read more ...
Jenny Gilbert
At a time when every other theatre is offering an alternative Christmas show, what to make of the Royal Opera House’s first collaboration with Lost Dog, aka director-choreographer Ben Duke, who has come up with the most un-merry topic imaginable? Meet Medea, the vengeful sorceress of Greek myth, who butchered her brother, nobbled her ex’s new bride and murdered her own children. The Wind in the Willows this is not.Remarkably, though, Ruination (what a downer of a title!) succeeds in navigating its tortuous path between violent deeds and lacerating regrets by way of verbal comedy as well as Read more ...
Mert Dilek
Identity is thorny business. This was the parting thought of Anna X, the play that marked Emma Corrin’s West End debut in the summer of 2021. The same credo governs Corrin’s return to London theatre with Orlando, in Neil Bartlett’s adaptation of Virginia Woolf’s 1928 novel about a larger-than-life character hellbent on defying time, sex, and convention.Once again, Corrin blazes on stage – and across the centuries – with a central performance that is both lucid and layered. It’s a shame, then, that Michael Grandage’s breezy production doesn’t quite make the most of that great asset, not to Read more ...
Helen Hawkins
Apple TV+ is using the arrival of season two of Slow Horses to offer a generous three-month free trial to its streamer service. Ample time to catch up with season one and watch it multiple times before all of season two is available at the end of December. Go for it.Mick Herron is now preparing the ninth Slough House novel for publication in 2023 (there have also been three related novellas in the sequence), while the TV series is just embarking on volume two, Dead Lions. Predictably, the literary critical backlash has already begun: the books are formulaic, the magic doesn’t last, Read more ...
Rachel Halliburton
The elation in the queue was palpable as people stood laughing and chatting in the November cold waiting for the doors of the Jazz Café to open for the latest crowd-funded event organised by Through the Noise. This 13th Noisenight – which brings major classical soloists to nightclubs – was a chance to see Sheku Kanneh-Mason and pianist Harry Baker at a key moment in Through the Noise’s history, the start of its first national tour. While much of the buzz was around Kanneh-Mason, from the moment the two musicians started playing it was clear that what was special was their Read more ...
Gary Naylor
Just about the three toughest tricks to pull off in the theatre are making a musical, making a family show and making characters so charming that even the most cynical in the house are pulling for the little guy (or not so little in this case). So if it takes the armature of a blockbuster Hollywood movie to buttress the production, who cares?Back at the Dominion Theatre seven years on from its successful run, Elf spreads the feelgood from stalls to circle with enough warmth to chase any wintry chills away. As with all the best seasonal shows, you know your emotions are being manipulated Read more ...