This is the theatre at its very best and on screen, both productions are gripping, using the camera work to richly convey the abstract shapes and grand vision of its boldly beautiful staging, while allowing the connection between the lead actors to shine.
Mates blogger: Maryam Philpott
Maryam Philpott is one of over 45 theatre bloggers who are part of the MyTheatreMates collective. This page features Maryam'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.
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Macbeth is one of Shakespeare’s most frequently performed plays, and it is a story filled with death, danger and prophesy.
Far from frivolous, this fashion-based drama is a great choice for Chichester Festival Theatre’s inaugural broadcast, from a venue that so often gets it right. Perfect escapism.
The first show in the National Theatre at Home programme was the 2011 smash-hit One Man, Two Guvnors, one of the great success stories of the Nicholas Hytner era, a cheeky farce written by Richard Bean and starring National Theatre favourites James Corden and Oliver Chris.
Three Sisters at the National Theatre, Uncle Vanya at the Harold Pinter and The Seagull at the Playhouse Theatre have all taken very different approaches to reworking Chekhov, bringing fresh insight and relevance to a writer whose plays have often felt rather dry.
Shoe Lady is an intriguing and well-considered examination of the social and domestic pressures placed on women to perform multiple and often contradictory roles in our society.
It may be almost 20 years old, but Jason Robert Brown’s The Last Five Years feels timeless and recognisable and this bold restaging at Southwark Playhouse is a triumph.
The psychology of Blithe Spirit snaps convincingly into place in Richard Eyre’s production while at the same time it fully utilises every opportunity to make the audience laugh.
A Number packs a lot of themes, meaning and ideas into just an hour of stage time in a production that asks big questions about scientific progress.
Tom Stoppard’s personal story in Leopoldstadt sees the writer return to form as a commentator of cultural, social and historical patterns.
Much is to be taken from the strangeness of the settings and fine characterful performances in Endgame and Rough For Theatre II which should please Beckett fans and providing plenty of thoughtful material for the journey home.
In opening-up the female experience of the era in Faustus: That Damned Woman, Chris Bush reinforces the decision to switch the gender of the central character.
This Uncle Vanya is more roundedly entertaining than other recent productions and while that detracts a little from the emotional undercurrents of the original, the fluidity and richness of Rickson’s production, performed by an excellent cast, ensure a satisfying Chekhovian conclusion.
In The Tyler Sisters Alexandra Wood reverses expectations of storytelling and in the process fills a notable gap in charting the experience of just being a sister day-to-day and year-to-year.
With a new year fast approaching, it is an interesting time to reflect on small changes across the theatre landscape in 2019 that will continue to shape how UK theatre will look as it moves into a new decade.
In a strong year for new London productions, Curtains finishes 2019 on a high with a true song and dance show that glories in its love of the stage and the process of putting on a production.
In Teenage Dick Mike Lew has created a version of Richard III that suits the high school context extremely well, asking the audience to consider attitudes to disability, power and social structures that perpetuate all kinds of inequality.
With its comment on the burden of expectation placed on women, class struggle, race and sexuality, more than six decades on A Taste Of Honey has lost none of its bite.
Reimagined for the modern stage with a contemporary cast led by James McAvoy, Jamie Lloyd’s production of Cyrano de Bergerac feels at every moment like theatre at its most exciting, liberating and inclusive.
Melly Still’s reworking of April De Angelis’ adaptation of My Brilliant Friend gives the show both a flowing and episodic quality as the interior monologue of the protagonist in the books is replaced by fully dramatised scenes.
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