Theatre Reviews
Lullaby, Barbican PitMonday, 27 June 2011
There are few absolutes left in contemporary theatre. Fourth walls have long since crumbled underfoot; site-specific and immersive theatre experiences have further done away with divides between theatre and world, performer and audience. The one principle you can rely on is that consciousness is generally a good thing – that a play capable of putting you to sleep is bad. Oh, and that turning up to an opening night in your pyjamas is guaranteed to get you sent straight home again. Step... Read more... |
Hundreds and Thousands, Soho TheatreMonday, 27 June 2011
One of the many strengths of new writing for the stage is that it’s not afraid to go into the darkest and most upsetting places of the human psyche. Whether at the Royal Court or at the Bush or Soho theatres, young playwrights have dived in to explore the grimmest reaches of our imaginations. Hundreds and Thousands, which opened last night, is Lou Ramsden’s powerful and compelling account of one family’s descent into a nightmare. Read more... |
Shakespeare Double Bill, Propeller, Hampstead TheatreSunday, 26 June 2011
As further proof that Shakespeare plays come these days not as single spies but in battalions, the London leg of the all-male Propeller ensemble's lengthy tour has pitched up... Read more... |
Doctor Faustus, Globe TheatreThursday, 23 June 2011
There be dragons aplenty, angels, demons and ghastly creatures both fleshy and feathered in the Globe Theatre’s inaugural production of Doctor Faustus. Christopher Marlowe’s take on the familiar Faust legend, bold in its religious content, was a controversial hit of its day, but the play’s almost medieval apposition of high thinking and knockabout farce by no means guarantees it success in the contemporary theatre. If... Read more... |
Being Shakespeare, Trafalgar StudiosWednesday, 22 June 2011
There’s a lovely moment in A Midsummer Night’s Dream where Peter Quince assigns roles to his company of rude mechanicals. Unsatisfied with the part of the hero, Bottom interrupts, insisting he be allowed to play not only Pyramus but heroine Thisbe too, as well of course as the murderous lion. It’s hard not to see just a little of Bottom’s eagerness in Simon Callow’s... Read more... |
Rosencrantz and Guildenstern Are Dead, Theatre Royal HaymarketTuesday, 21 June 2011
Lightning hasn't quite struck twice at the Theatre Royal Haymarket, where Trevor Nunn's dazzling reclamation of early Terence Rattigan (Flare Path) has been followed by the same director's transfer from Chichester of Rosencrantz and Guildenstern Are Dead, Tom Stoppard's first play. How does this 1966 gloss on Hamlet by way of Beckett hold up today? Engagingly enough, not least when its two tireless leads are in full existentialist flow. Read more... |
The Flying Karamazov Brothers, Vaudeville TheatreMonday, 20 June 2011
The Flying Karamazov Brothers give a new meaning to the word “practised”. Their first stage show in 1981 was called Juggling and Cheap Theatrics - a smart title that they could have kept for the show they bring to London’s West End, largely made of routines that this celebrated US comedy-juggling act have been doing for decades. It’s weird to see in YouTubes of their early performances some of the material I watched last night at the Vaudeville. Still, the fact is those old... Read more... |
The Infernal Comedy, Barbican HallSaturday, 18 June 2011
The Barbican committed a grave sin last night. It forgot that people matter more than art. That their responsibility to the families of those who Jack Unterweger (the subject of John Malkovich's music drama, The Infernal Comedy) murdered trumps any interest in the dramatic potential of Unterweger's bizarre life. However constraining to the autonomy of creativity this may be, these are the rules of common decency. Read more... |
Where’s My Seat?, Bush TheatreFriday, 17 June 2011
They say that moving home is always traumatic. So the Bush Theatre in west London must be feeling a wee bit fragile because it has recently upped sticks and taken up residence in the Old Shepherds Bush Library building just around the corner from its historic but rather leaky former home. Yet it’s typical of this spunky venue that it celebrates the first stages of the move with not only a trilogy of short plays, but also with an invitation to the audience to comment on its new space. Read more... |
Betrayal, Comedy TheatreFriday, 17 June 2011
This is a play that begins after the end of an affair, and threads its precise, forensic way back to the very beginning of it. As the lovers are awkwardly reunited after two years, the theme of deceit as a web of competing and ambiguous claims is firmly established. Jerry, a literary agent, has learned that Emma, the wife of his oldest and dearest friend, with whom he had an affair for seven years, may now be having an adulterous relationship with one of his writers. 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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