Theatre Reviews
The Silence of the Sea, Trafalgar StudiosTuesday, 15 January 2013
Few productions give the sound designer absolute pride of place, but such is the presumably inevitable nature of a play called The Silence of the Sea that what isn't voiced counts every bit as much as what is. Gregory Clarke's aural landscape works overtime in a 95-minute piece (no interval) that couples speech with sustained silences, yes, but also with eerie ambient noises that suggest all manner of offstage activity complementing the brooding stillness on view. Engaging? Read more... |
The Rime of the Ancient Mariner, Old Vic TunnelsWednesday, 09 January 2013
Here’s an elegant thing to do before eight o'clock dinner - stroll out for an hour’s recital of a rollicking story-poem done by a leading actress in a hip underground venue with judiciously hip application of modern dance, then go off and diss it over your sushi. Very London life. Read more... |
Somersaults, Finborough TheatreSaturday, 05 January 2013
“What should it matter to us if a few words, then a few more and then a language just go,” asks Iain Finlay Macleod’s richly textured play. Somersaults may end in a shrug of inevitability, but its thrust is that language defines identity. In losing a few words, we do not just lose sounds. We endanger traditions, memories and relationships. Read more... |
London 2012 and Beyond: The Best of 2012Monday, 31 December 2012
The Mayan calendar recently suggested it was all over. It is now, almost. 2012 was, by anyone’s lights, an annus mirabilis for culture on these shores. The world came to the United Kingdom, and the kingdom was indeed more or less united by a genuine aura of inclusion. Clumps of funding were hurled in the general direction of the Cultural Olympiad, which became known as the London 2012 Festival, and all sorts leapt aboard. Read more... |
Theatre: The Best of 2012Thursday, 27 December 2012
For much of 2012, London theatre seemed to celebrate the playhouse as much as the play, turning certain venues into essential destinations. I'm thinking, of course, of Shakespeare's Globe, whose mindblowing Globe to Globe season - its namesake's canon performed in as many languages as there are plays - redefined the concept of marathon well before the Olympic athletes came to town. Read more... |
Sauce for the Goose, Orange Tree TheatreSaturday, 22 December 2012
"Doors and sardines. Getting on, getting off. Getting the sardines on, getting the sardines off. That's farce. That's the theatre. That's life." So says one of Michael Frayn's characters in Noises Off. Read more... |
Midnight's Pumpkin, Battersea Arts CentreFriday, 21 December 2012
If you have any young siblings, friends or relatives in need of burning off a little energy, send them directly to BAC. With their open-hearted style of rough, circusy-type theatre, Kneehigh are ideally suited to this circular barn of a room. Read more... |
Meow Meow's Little Match Girl, Queen Elizabeth HallThursday, 20 December 2012
“How I do love a steely sting in my fairytale ending,” croons Meow Meow, eyes glinting even more brilliantly than her eyeshadow. When she says “sting” a whole army of scorpions couldn’t equal her venom. Read more... |
The Dance of Death, Trafalgar StudiosTuesday, 18 December 2012
It sounds unlikely but The Dance of Death makes the perfect Christmas play. Half a minute with Strindberg's squabbling couple makes the ordinary family row over underdone/overdone turkey seem like a parlour game. Need a reminder that your relatives are rather charming? This is the play for you. Read more... |
Hymn/Cocktail Sticks, National TheatreMonday, 17 December 2012
“You don’t put yourself into what you write, you find yourself there.” It’s a maxim that has guided a writing career that, insect-like, has made itself at home among the lived detritus of autobiography and memoir. In Alan Bennett’s 2001 Hymn and his latest short-play Cocktail Sticks the author sets out in search of himself once more, finding on his quest not only his own history but that of a generation and an age at an ever-increasing remove from our own. Read more... |
Pages
Advertising feature
★★★★★
‘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.
latest in today
'We are bowled over!' Thank you for your messages...
