This production of Pictures of Dorian Gray at Jermyn Street Theatre is intriguing, and offers chances to see the parts played differently, but there are inevitable losses.
Mates blogger: Libby Purves
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The latest from Libby on MyTheatreMates
A Midsummer Night’s Dream at the Bridge Theatre is a dream of a Dream. One expected fun from the combination of Nicholas Hytner, a roiling mass of promenaders in the pit and a Bunny Christie design which makes the most of this fresh big theatre’s technical tricks.
I fervently hope the lovely quirky The Curious Case of Benjamin Button at Southwark Playhouse goes on and upward, and especially on tour.
When I left I thought I was disappointed in The Starry Messenger, but this morning I can’t help thinking about Matthew Broderick’s character Mark, and his wife, and the sadness of all our middle years as they shade towards nightfall..
Psychology, social rage, human sadness and betrayal move in an elegant circle in Rutherford & Son at the National Theatre and Findlay’s direction doesn’t miss a beat of it.
Musically Dido is okay, especially Eyra Norman’s Belinda and the spirited chorales. But it could have been a piece of theatre magic, and wasn’t.
After the querulous, inward-looking tedium of her feminist polemic The Writer, Ella Hickson returns to interesting form with this curiosity, Anna.
Small Island is a terrific yarn, both romantic and tough, about history and Empire and sex and frustration, escape and hope and love and racism: about promises turned to dross and the great seas of misunderstanding that roll between people.
Five mice for White Pearl at the Royal Court Theatre because it’s different and clever and useful, and horribly good fun.
Savagely observed absurdity, blinding flashes of insight, profound yearning, sudden poetry singing clear notes from the cruel swamp of humanity. Orpheus Descending isn’t one of Tennessee Williams’ more familiar plays, but it has all the troubled master’s marks, glories and challenges.
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