Theatre Reviews
Relatively Speaking, Wyndham's TheatreTuesday, 21 May 2013
The pronouns have it in Alan Ayckbourn's career-defining comedy of spiralling misunderstandings, which has arrived on the West End 46 years after first hinting at the formidable talent of a dramatist who could make of many an "it" and "she" a robustly funny study in two couples in varying degrees of crisis. Read more... |
Limbo, Southbank CentreTuesday, 21 May 2013
Circus is a broad church these days. It can be housed on the street, a grand proscenium stage and all points in between. For this latest incendiary reinvention of the form, it makes its way back into an intimate big top where the residual DNA of circus’s regular trappings seem all to be in situ. There’s bendiness and balancing, aerobatics and good old trapezing, fire-eating (pictured below) and sword-swallowing. Read more... |
Say It With Flowers, Sherman Theatre, CardiffSunday, 19 May 2013
There is a glaring irony in that a play about an all-consuming obsession with one thing (fame) has no real idea of what it itself is supposed to be. Say It With Flowers, a purported biography of iconic lounge singer Dorothy Squires, teases at the sequins of the musical, the psychological drama, the tragi-comedy, the biopic, gritty realism, expressionism, and soap opera, but eventually falls between the cracks of all these. It makes for a frustrating two hours. Read more... |
Bullet Catch, Spiegeltent, BrightonFriday, 17 May 2013
Magicians’ online forums are seething at Bullet Catch’s host and writer-director, the Scottish actor and magician Rob Drummond. This is because at one point in the show he levitates a small table then takes an audience poll as to who would like to know how the trick is done. When a majority vote they’d like to know, he shows us, simple as that. Read more... |
The Victorian in the Wall, Royal Court Theatre UpstairsFriday, 17 May 2013
The past: it’s etched into the fabric not just of our lives, but of the architecture that surrounds us – the streets we tread, the buildings where we work or make our homes. In this whimsical, winning 90-minute piece by Will Adamsdale, the past has a niggling habit of leaping out from the places where it should lie buried, rubbing up cheekily against the present, and sticking its nose into the future. Read more... |
Knee Deep, Theatre Royal, BrightonThursday, 16 May 2013
Knee Deep, the show by four-person Brisbane acrobatic troupe Casus, is only an hour long but packs more eye-popping antics into its first 10 minutes than many circuses muster in three hours. Their fluid, almost faultless displays of gymnastic skill have a theatrical dynamic that’s so gripping I feel I’ve missed something vital every time I look down for a few seconds to scribble a note on what's occurring. They really are something special. Read more... |
These Shining Lives, Park TheatreThursday, 16 May 2013
North London has a splendid new theatre, The Park, whose £2.5 million existence – without a penny of government subsidy – is something of a miracle given our cash-strapped times. The building itself is also a bit of a marvel, tucked into a Tardis-like space (originally a blacksmith’s) in the heart of Finsbury Park. With two stages – a 200-seat main theatre and a 90-seat studio – and a strong community ethos, The Park has heaps of promise. Read more... |
Public Enemy, Young VicTuesday, 14 May 2013
Everything seems so free and easy, so do-as-you-darn-well-pleasey, in the Stockmanns’ fjord-view model home. Cheery friends in bright 1970s clothes drop in to chew the social cud as well as Mrs S’s cooking; only her medical-officer husband’s mayoral brother jars, and surely he’s too daft to be taken seriously. Read more... |
The Hothouse, Trafalgar StudiosFriday, 10 May 2013
Throughout Harold Pinter’s The Hothouse, the characters of an ill-defined institution split hairs over the service it provides. Is it a rest home, a nursing home, a sanatorium? They may be kidding themselves, but not us; not when their chief asserts that “the key word is order”, or when these patients “recommended by the ministry” are known not by their names, but numbers, and not when we glimpse the diabolical misdeeds behind the door of Room 1A. Read more... |
Passion Play, Duke of York's TheatreWednesday, 08 May 2013
What’s the price of betrayal? In Peter Nichols’s 1981 play it’s a painful splintering of the psyche. The betrayer mentally compartmentalises in order to be both affectionate husband and ardent lover; the betrayed loses her confidence, her purpose, even her identity until she is – in ways that Nichols makes theatrically explicit – beside herself. 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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