Betrayal is everything you could hope for. The Pinter at the Pinter season has set a very high standard for itself, but what a swansong this has turned out to be.
Mates blogger: Maryam Philpott
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For 45 minutes the audience may be gripped, stimulated and entertained in The Jumper Factory but this remains the everyday experience of all the men who contributed to the show, and it slightly changes our mindset to have this made clear at the start.
This revival of Stephen Adly Guirgis’ Jesus Hopped the ‘A’ Train is a layered story of two violent criminals, the system they hope can save them and the redemptive power that comes from confession.
Shipwreck has its moments and the cast are uniformly excellent, but without strong character investment it dwindles to little more than a few well-hashed arguments we’ve all heard before.
This All About Eve is something quite different, same story deliberately new frame with staging that pushes at the boundaries of theatre and film.
What a difference a few months can make; when the Jamie Lloyd Company first announced its Pinter at the Pinter season finale show back in May (before Betrayal was added to the programme), the news that Danny Dyer would star alongside Martin Freeman raised a few eyebrows.
The BBC’s adaptation of Les Misérables has been a huge success, gripping Sunday night viewing for the last five weeks offering the first truly comprehensive dramatisation of Victor Hugo’s mammoth novel.
Someone at the Globe may have sold their soul to the devil after all because it is the companion piece to Doctor Faustus, Dark Night of the Soul, that is exactly the kind of successful initiative they need.
Aspects of Love may perhaps benefit from a modern reworking to iron out the more distasteful elements, but it should be fondly remembered.
The purpose of Jamie Lloyd’s still and contained approach is extremely well and atmospherically realised by a top-notch cast who bring such clarity to Pinter Six’s social commentary.
The collective works that make-up Pinter 5 feel as insightful and meaningful as any of the Pinter at the Pinter anthologies that have come before.
Lynn Nottage’s Pulitzer Prize-winning play Sweat comes to London for the first time, examining the personal and local consequences of a firm’s strategic decision to change the way it operates and revealing the void it leaves behind.
Caroline or Change has a lot going for it and three potentially interesting plot lines that should fully engage, yet it never quite unites as tidily and explosively as it promises to do, the wackier aspects serving to alienate rather than enhance the rest of the story.
Mark Ravenhill’s fascinating new play The Cane at the Royal Court Theatre examines the issues of culpability for small-scale endorsed acts of violence and the nature of justice.
The revival of Alan Bennett’s 1991 classic The Madness of King George III at Nottingham Playhouse couldn’t then be more relevant, a play that speaks to our interest in the people who govern us as well as concerns about fitness to rule, mental health and its treatment.
At the Ambassadors, Joanna Murray-Smith’s new play Switzerland arrives in the West End for the first time, putting Patricia Highsmith in the spotlight with an intriguing duologue about the nature of the authorial voice.
Now the National Theatre has a vibrant production of the musical Hadestown which premiered at the New York Theatre Workshop in 2016.
Marianne Elliott brings Company to the West End with a production that may well change the musical forever.
In a year of revelations about the abuse of power and sexual misconduct, the timing couldn’t be better for Measure for Measure at the Donmar Warehouse, an intriguing tale of blackmail, morality and duty.
James Graham’s new show Sketching attempts a purer form of anthology, blending stories from eight competition winners to co-create a patchwork of London life.
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