Theatre Reviews
Hamlet, Schaubühne Berlin, Barbican TheatreFriday, 02 December 2011
Ken Russell is, it seems, alive and well and directing Germans in Shakespeare. Actually, no, it's outgrown theatrical terrorist Thomas Ostermeier, but it might as well be our Ken to judge from the fitfully imaginative but repetitive images and the misappropriation of possibly fine actors. It seems old hat to us, but perhaps in two respects Londoners may strike Berliners as conservative. Read more...
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The Comedy of Errors, National TheatreWednesday, 30 November 2011
Sex, spending, violence and debt: life in the city is lived raw in this caustic interpretation of Shakespeare’s comedy by Dominic Cooke. The setting is grimy, graffiti-daubed; shiny apartment blocks vie with sleazy strip joints and brothels, and the streets are stalked by gangsters, chancers, trophy wives and gypsy buskers. Read more... |
Matilda the Musical, Cambridge TheatreFriday, 25 November 2011
WC Fields once famously cautioned against working with children or animals. He might very well have gone crazy had he been involved with the RSC’s hit musical production Matilda, which started out in Stratford-upon-Avon last November, garnering fistfuls of rave reviews, and has just won this year’s Evening Standard and Theatrical Management Association awards for Best Musical. Read more... |
The Kitchen Sink, Bush TheatreThursday, 24 November 2011
This play has a deliberately evocative title: not only does it suggest overabundance (“everything but the kitchen sink”), but also a whole genre of playwriting (Kitchen Sink Drama). At the same time, the kitchen is the heart of family life. Read more... |
Judith Paris, Waxing Lyrical, New DioramaThursday, 24 November 2011
Mme Tussaud was born in Bern in 1760. Well, in Strasbourg in 1761. Her father was a respectable tradesman. Or possibly the local hangman. Her mother was a clergyman’s daughter. Or more likely a servant. Read more... |
The Riots, Tricycle TheatreWednesday, 23 November 2011
Ever since 9/11, political theatre has mobilised the techniques of verbatim drama, and the Tricycle Theatre in Kilburn, north London, has an impressive reputation for its tribunal plays, often staging the proceedings of judicial enquiries. Earlier this year, they bought us Tactical Questioning: Scenes from the Baha Mousa Inquiry. Read more... |
Judgement Day, The Print RoomTuesday, 22 November 2011
There comes a point in a writer’s life when he – it’s usually a he – stops writing about life and starts writing about writing. With Ibsen this stage arrived in the self-reflexive rage and unquiet of When We Dead Awaken – the play the author seemed to realise would be his last. Brooding on genius, art and the clamour of the everyday, it’s an inhospitable work and not one we see often; London’s last professional revival was almost 20 years ago. Read more... |
How the World Began, Arcola TheatreSaturday, 19 November 2011
It’s the God factor. Although, until very recently, most British playwrights - being a secular bunch - have shied away from tackling questions of religious belief in their work, their American counterparts have had no such inhibitions. The market leader of this trend in the new generation is Catherine Trieschmann, whose 2006 play Crooked featured a “holiness lesbian”, and who now turns her sights on the clash between belief and science in rural Kansas. Read more... |
Reasons to be Pretty, Almeida TheatreFriday, 18 November 2011
This needs confessing. Neil LaBute and I have an uneasy relationship. David Mamet - in Oleanna or Boston Marriage mode – also gets under my skin. It’s a close-run thing: misogyny exposed, or the thing itself? After Fat Pig (2004) and The Shape of Things (2005), Reasons to be Pretty is the third in LaBute's trilogy of plays about female appearance, and his seventh collaboration with the Almeida. Read more... |
Juno and the Paycock, National TheatreThursday, 17 November 2011
“The whole world's in a terrible state of chassis,” says Captain Jack Boyle more than once during Sean O'Casey's great play, set in 1922 and the second of his Dublin trilogy, bookended by The Shadow of a Gunman (1923) and The Plough and the Stars (1926). 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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