Richard Eyre’s sold-out Hampstead Theatre production of Mr Foote’s Other Legwill transfer to Theatre Royal Haymarket from 28th October 2015, for a limited season in London’s West End. Press night Wednesday 4th November.
At the age of 32, at the very height of a superstardom today reserved for the Hollywood A-list, the great 18th Century castrato Farinelli turned his back on the stage, never to return, to sing for only one man – Philippe V, the King of Spain. The King, suffering from a madness brought on by depression, could only find solace and sanity in Farinelli’s heavenly tones.
Rapture Theatre’s touring production of Arthur Miller’s The Last Yankee has an emotional depth and psychological realism that help the production to overcome occasional false steps.
This is one of Miller’s final plays and seems largely unconcerned with niceties of plot, instead focusing on the interplay of character. Themes of mental health, human relationships, success and failure and the dying of the American Dream are elegantly explored in what is a delicately limpid chamber piece.
How do you approach a play when the film based on it is steeped in generations of lavish praise and is a regular on “favourite” and “best” lists? Well, if Humdrum’s take on Arsenic & Old Lace is anything to go by, the answer is to pepper your cast with people who’ve never seen the movie and then let their imaginations run wild.
We are in a pub garden in rural Hampshire, where landlord John is gathering logs for the fire (in high summer, “it’s part of what people come for”), and telling a joke about a ferret and a blow-job to cheer up Mark, a lanky, sad youth. Along comes Liz the bravely prattling church organist. They talk. A year later, they meet again. That’s all. But it is immense.
This is a review I’ve been pondering for a week or more now: where to start was my biggest issue. The epic proportions of this show are hard to comprehend, namely because, when you think about it, this is a trilogy of Greek tragedies that were written over 2000 years ago circa 458 BC. So you may be forgiven for thinking what relevance this theatrical event of the year has in today’s society?
Following a sell out run at the Royal Court Theatre, producers Robert Fox, Matthew Byam Shaw for Playful Productions and Royal Court Theatre Productions are delighted to announce that Matthew Dunster’s production of Martin McDonagh’s Hangmen will transfer to the West End for a strictly limited season. Previewing from 1 December, the production will have a press night on 7 December at Wyndham’s Theatre.
“I can unmake you the same way I made you. I write the story, remember?” Rachel Cusk’s brilliant vision of Euripides’ Medea for the Almeida transforms the barbarian witch into a modern-day writer: but, just as the ancient Medea’s spells had immortal force, so the new Medea’s power with words, particularly her fearless refusal to compromise on the truth, alienates and terrifies all those around her, and endows her with the ability to change her own destiny – at the terrible price of her sons’ lives.
Community and ritual lie at the heart of Nalina Chetty’s clever new play Kontomble, the opener to the latest A Play, A Pie and A Pint season of lunchtime theatre at the Traverse. In a consistently well-acted production, director Guy Hollands breathes life and understanding into a script that is just a shade too well-intentioned and, for all that the happy ending feels good, falls out just a bit too pat.