As the conclusion to a strong season of unusual Williams revivals, Southern Belles proves valuable and illuminating, concluding with an important moment of solidarity that leaves the audience with a sense of hope and the value of community to take home.
Mates blogger: Maryam Philpott
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The latest from Maryam on MyTheatreMates
Max Vernon’s musical The View UpStairs making its European debut at the Soho Theatre and running for just five weeks, commemorates the 1973 arson attack on a gay bar in New Orleans which was the most significant event of its kind until 2016’s Florida shootings.
Gripping performances from Clive Owen and Lia Williams, and James Macdonald’s slow-burn direction allows Tennessee Williams’ writing in The Night Of The Iguana to cast its spell.
The staging and orchestration of the Palladium’s new version of Joseph & The Amazing Technicolor Dreamcoat looks to the future, as a whole new set of children fall in love with this perennial musical.
In The End of History Thorne shuffles various perspectives within the family, examining their different experiences of the same events from multiple angles, and while these differences drive wedges between them, ultimately and with hope for the future, he explores the ties that keep people together.
The Old Vic’s production of Present Laughter finally feels as though we’re shaking off some of the restraints that have shackled Noel Coward to the past.
Bitter Wheat is not only frustratingly irresponsible in its treatment of the events that led to the #MeToo movement, it is also a poorly constructed drama.
It is the slight rearrangement of the text and its implication for the female characters that is Nicholas Hytner’s most notable achievement here in A Midsummer Night’s Dream at the Bridge Theatre.
However light its frame, ultimately Education, Education, Education has serious points to make about the short-termist approaches to education funding used cynically as a political tool to win voters.
Femi Elufowoju Jr’s production of The Glass Menagerie is fascinating with the tense and vibrant second half in particular proving both gripping and illuminating
Thornton Wilder’s writing in Our Town feels as fresh and innovative as it must have done in the 1930s and taking an early season risk on a less conventional play ultimately pays off.
Even a middling Tennessee Williams play – Orpheus Descending – is better than most, and this one still has plenty to say about sacrifice and suffocation in small-town America
It’s Marianne Elliott’s impressionistic approach that yields considerable insight into the themes of Death of a Salesman, the characters’ attachment to material possessions as indicators of success, and most especially to the physical home that contains their family history, which they have spent decades slowly paying-off.
Most importantly Ian Rickson’s gripping production of Rosmersholm suggests that great female roles are to be found among the classics if only we look hard enough.
With compelling performances from the four leads this production of All My Sons fulfils its promise, a gripping Miller tragedy that concludes with a lasting sense of devastation.
It is a vibrant and meaningful interpretation of Chekhov’s Three Sisters that reaps rewards. Keep on an eye on this new theatre partnership, it could be around for many years to come.
Smartly adapted by Henry Filloux-Bennett, Nigel Slater’s Toast will warm you through without disguising its darker flavours, a satisfying and hearty concoction that sees the world through the eyes of a child.
Grief on stage and in popular culture is rarely considered as a psychological state of its own but as a means or driver for other behaviour.
In just six months, Jamie Lloyd’s creative team and ever-changing company of actors has utterly transformed our perspective on Harold Pinter.
Whether rehabilitation is truly possible for such serious crimes committed by sex offenders, Bruce Norris never really decides, leaving only a dramatically engaging but morally troubling outcome in Downstate at the National Theatre.
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