fri 02/12/2022

Judaism

Good, Harold Pinter Theatre review - brilliant but half-baked

“The bands came in 1933.” So begins C P Taylor’s Good, a play that tries its hardest to resist being Googled. It was first performed by the RSC in 1981; this production, starring David Tennant as a mild-mannered German professor who gradually...

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The Doctor, Duke of York's Theatre review - Juliet Stevenson will see you now

Robert Icke is an expert in corporate tragedy. I don’t mean that in a bad way - just that he has a penchant for taking classics (Hamlet, The Oresteia, Mary Stuart) and transporting them, with the help of designer Hildegard Bechtler, to the frosted-...

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The Merchant of Venice, Sam Wanamaker Playhouse review - enormous empathy

The Merchant of Venice is a comedy, you say? Shakespeare, as ever, refuses to be confined to convenient boxes, his best plays’ extraordinary pliability and longevity a testament to the piercing eye he cast towards the slings and arrows that assail...

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Antony Sher: 'I discovered I could be other people'

The energy of Antony Sher, who has died at the age of 72, was prodigious. He not only acted like a fizzing firecracker. He wrote books about his most celebrated roles, and several novels set in his native South Africa. He also wrote plays, and he...

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'The din is loud these days': playwright Cordelia Lynn on her imminent premiere at the Donmar Warehouse

As I write this, we've just had our final day in the rehearsal room and are going into tech onstage next week with my new play, which is also reopening the Donmar not only to live performance but follows major renovations at their home address.It’s...

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Rose, Hope Mill Theatre online review - a performer at her peak

Solo plays and performances are, of necessity, the theatrical currency of the moment, whether across an entire season at the Bridge Theatre or last week at the Old Vic in the too briefly glimpsed Three Kings, starring a rarely-better Andrew Scott....

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The Merchant of Venice, BBC iPlayer review – a parable on the limits of tolerance

Ah, 2015. Those halcyon days of packed theatres. Thank God the RSC had the presence of mind to film Polly Findlay’s production of The Merchant of Venice, now streaming on BBC iPlayer. Condensed into just over two hours, it’s a thoughtful take on...

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The Prince of Egypt, Dominion Theatre review - Moses musical goes big and broad

The theatre gods rained down not fire and pestilence, but a 45-minute technical delay on opening night of this substantially revised musical – a stage adaptation of the 1998 DreamWorks animated movie. But nothing could entirely halt this juggernaut...

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'You’re Jewish. With a name like Neumann, you have to be'

It was during my first week at Tufts University in America, when I was 17, that I was told by a stranger that I was Jewish. As I left one of the orientation talks, I was approached by a slight young man with short brown hair and intense eyes. He...

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Mother of Him, Park Theatre review – lean domestic drama unsure where it stands

Mother of Him was written a decade ago, but its most prescient moment happens in the first five minutes of Max Lindsay's production at the Park Theatre. Brenda Kapowitz (Tracy-Ann Oberman) presents a sheaf of papers to Robert (Simon Hepworth, ...

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Old Stock: A Refugee Love Story, Wilton's Music Hall review - klezmer revue is moving and inventive

Canadian playwright Hannah Moscovitch’s “refugee musical” – now there’s a phrase you don’t expect to write – is a treat. Harking back to the early 20th century pogroms of Eastern Europe, it’s darkly steeped in history, conveying the sorrows of...

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Falsettos, The Other Palace review - affecting search for the new normal

William Finn and James Lapine’s musical – which combines two linked one-acts, March of the Falsettos and Falsettoland, set in late 1970s/early 1980s New York – picked up Tony Awards in 1992 for its book and score, and was nominated again in...

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