Land Without Dreams may be difficult, irritating, sometimes alarmingly ‘obvious’ but they also manage to dig further into what it is to be human, coming at us as it were from left-field.
Mates blogger: Carole Woddis
Carole Woddis is one of over 45 theatre bloggers who are part of the MyTheatreMates collective. This page features Carole's posts on MyTheatreMates. Take a look at our full list of theatre bloggers and our aggregated feed of all our Mates' posts. We’re always looking for new theatre bloggers. Could that be you? Learn about how to join us.
The latest from Carole on MyTheatreMates
In a mere 90 minutes On Bear Ridge creates a theatrical metaphor of unforgettable power and impact.
Spectators will go away wiser and sadder from this encounter with Shook, but most of all they will go away remembering Samuel Bailey’s dialogue and Josh Finan’s barnstormer of a performance as Cain.
Jemima Rooper, Kate O’Flynn, Zainab Hasan and Joanna Horton carry a lion’s share delivering the vitriol, pain and helplessness of struggling women in [Blank].
Like characters in a book who never die, Laura Wade’s The Watsons at the Menier Chocolate Factory deserves to last forever.
Now, in a daring and radical re-imagining, Marina Carr and Yaël Farber have transported Lorca’s Andalusian tragedy Blood Wedding to a deeply Celtic, Irish setting.
A great memorial, an unforgettable, nuanced testimony, we have to pay attention to what Until the Flood tells us. Listen, feel, and learn. Do see.
Maya Arad Yasur’s Amsterdam had already had an illustrious reception before it hit Paul Miller’s pocket dynamo Orange Tree, Richmond.
Total immediate collective imminent terrestrial salvation. Quite a handful of a title to get hold of. But unlike much printed on the front of the bottle these days, it is what it says. It is a total immediate collective imminent terrestrial salvation – of sorts.
Cordelia Lynn’s Hedda Tesman renews Ibsen’s play in the light of today without in any way losing sight of the original. In this age of radical reinterpretations, that’s quite some achievement.
Donmar Warehouse, London ***
Box office: 020 3282 3808 (No booking fees, £1 postage fee may apply) Telephone Mon-Sat 10am-6pm …
Problematic, troubling, with a cast who give of themselves with unstinting commitment, once again Icke has pulled off a brilliant reframing in The Doctor.
To the credit of Kwame Kwei-Armah and Idris Elba – and maybe Tori Allen-Martin and Sarah Henley – you can feel the urge to find a healing of all sides in a conflict between black and white South Africans that persists to this day.
In Ché Walker’s dynamic, scarlet splashed, viscerally staged production, The Time of Our Lies is nothing if not a battle cry against those who govern the USA and its militaristic and foreign policies.
Michael Longhurst’s terrific, visceral debut production of David Greig’s Europe at the Donmar Warehouse packs a fierce climactic punch.
In Kristine Landon-Smith’s accomplished production, Tuyen Do’s Summer Rolls emerges as not just a saga of one individual family and effects of War on individuals but one that carries a broader, critical political comment.
It could be said that Bitter Wheat lifts the lid on the exploitation of power in the film industry, but it eaves an unpleasant taste in the mouth. Perhaps that was also part of David Mamet’s intention.
Marie McCarthy’s Clapham Omnibus venue never ceases to surprise. Dedicated, as befits its previous life as a library, to storytelling in all its various forms, Scott Le Crass’ revival of Simon Stephens’ Country Music is itself a revelation.
It was a bold idea on Tom Littler’s part to think of adapting Oscar Wilde’s The Picture of Dorian Gray into a multi gender-swapping stage production.
Come From Away, the story of how one small town, Gander in Newfoundland, responded to events of 9/11 when 7,000 passengers from 38 diverted aircraft landed in their midst, is one of the most joyous experiences you’ll encounter in the theatre.
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