What is so good about this play is how it lulls you into a false sense of security. The informality of how the characters address the audience, speaking in verse (sometimes rhyming, sometimes not), hooks you in from the second the lights are up.
Blurring the lines, nothing is ever black and white anymore, it is forever a shade of grey; Quiz is a show that reflects that sentiment fully. We are at the Noel Coward Theatre, a venue steeped in prestige and history. It plays host to many an iconic show.
“You worry (especially with fringe theatre): are you going to put bums on seats? Is it going to be able to portray the message you want? Will the audience get much out of it?”
“You look like a fucking idiot.” There was so much love in this insult, that with all the crap this family have to deal with you knew they’d muddle through it together.
Over the last few years, images of refugees fleeing their homes in search of safety in Europe have become such a common sight in our newspapers and on our TV screens that they’ve begun to lose a little of the powerful impact they once had.
So, that just happened! Despite some small disappointments in the nominations (nothing too much, just some things felt unnecessarily overlooked), I was rather looking forward to this year’s Oliviers.
Think of England at The Vaults is an unforgettable experience that transports you back to war-torn London with ease, crafted and performed to perfection – the show of the festival so far.
Woman Before a Glass is about infamous art collector and socialite Peggy Guggenheim – also apt as the theatre is not too far away from where she opened her gallery Guggenheim Jeune exactly 80 years ago.
Following the success of The Flick, which had its UK premiere in the Dorfman in 2016, Annie Baker’s latest play, intriguingly called John, makes its London debut in the same space.
