Theatre Reviews
You Can Still Make a Killing, Southwark PlayhouseMonday, 15 October 2012
Banking and the financial world may have gone into free-fall, but there are still killings to be made. Particularly personal ones. Nicholas Pierpan’s You Can Still Make a Killing is a morality tale for our time, a revenge tragedy without corpses, except for reputations. And, in the City, reputation – or rather perception - is everything. Read more... |
All That Fall, Jermyn Street TheatreFriday, 12 October 2012
Samuel Beckett recalled sinking into a "whirl of depression" while writing All That Fall. Audiences at this production - those, that is, who have managed to score a ticket for this short, sold-out run - are unlikely to emerge into Jermyn Street in a similarly gloomy frame of mind. Read more... |
Desire Under the Elms, Lyric HammersmithFriday, 12 October 2012
Pity the A-level English student: for them the “rarely seen masterpieces” that creep onto the curriculum and into the theatres. Judging from the frequently giggling reaction of the audience last night of around 100 17- and 18-year-olds, Eugene O’Neill’s tricky tragedy Desire Under the Elms isn’t going to be winning too many A*s among them next summer. Which is a pity, because this is a tough, gnarled play which strips human instincts to their bones. Read more... |
Damned by Despair, National TheatreThursday, 11 October 2012
Spain's Golden Age turns unaccountably to dross in Damned by Despair, the Tirso de Molina play that is a good half-hour shorter than the running time given in the programme but won't (in this production, anyway) ever be brief enough for some. Read more... |
This House, National TheatreWednesday, 10 October 2012
Over the past few years, the 1970s have made a cultural comeback. Read more... |
Cabaret, Savoy TheatreWednesday, 10 October 2012
"All this hatred is exhausting," or so remarks Will Young's ceaselessly grimace-prone Emcee in Cabaret in a comment that encapsulates the evening as a whole. Returning to a show he directed to acclaim on the West End six years ago, the director Rufus Norris has reconsidered John Kander and Fred Ebb's song-and-dance classic with less nudity, stronger voices, and lots of stage business where its bite should be. Read more... |
Lighthearted Intercourse, Octagon Theatre, BoltonSunday, 07 October 2012
Like several of Bill Naughton’s plays, Lighthearted Intercourse started life as a BBC Third Programme drama. When it was broadcast, in 1963, its title was, less provocatively, November Day. Subsequently, it was rejected for the stage by producer Binkie Beaumont, who apparently tried to get Michael Caine or Albert Finney for the lead role of Joe, considered an “Alfie-size” part by the author. Read more... |
Enquirer, National Theatre of ScotlandSaturday, 06 October 2012
Site-specific theatre is hard – where to put the audience, can they stand for nearly two hours, how do we enable them to see/hear, most importantly, what is the purpose of the site and how is it to be used? Verbatim theatre, too, is hard – how to shape a narrative, how to develop characters. Put the two genres together, and what have you got? A well-intentioned, rather unfocused mess, to be honest. Read more... |
Scenes From An Execution, National TheatreFriday, 05 October 2012
Walkouts are always intriguing. When audience members leave before the final curtain, it’s usually a sign that the play is too powerful, or too scandalous, or maybe just not very good. After reports that during previews many people aren’t returning after the interval in this revival of Howard Barker’s 1985 play, Scenes from an Execution, you have to wonder — is it the play or the production? Or is the National’s audience too conservative to appreciate this remarkable play? Read more... |
Our Boys, Duchess TheatreThursday, 04 October 2012
Our Boys shines a light on young war veterans in a military hospital in the early Eighties. A hit at the Donmar Warehouse in 1995, this new revival balances brash humour alongside some moving moments, but ultimately lacks punch. 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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