The Bristol Old Vic’s production of Long Day’s Journey into Night at Wyndham’s wrings excellent performances from its leads and brings clarity to O’Neill’s huge canvas.
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.
The latest from Maryam on MyTheatreMates
Nicholas Hytner’s production of Julius Caesar at the Bridge Theatre is nothing short of a Roman triumph, capturing the wonderful lyricism of Shakespeare’s writing, in what are some of his most beautiful speeches, with an urgency of action that means two hours just races by.
Following the success of The Flick, which had its UK premiere in the Dorfman in 2016, Annie Baker’s latest play, intriguingly called John, makes its London debut in the same space.
Ian Rickson’s production is a tense and unnerving experience that utilises all the skills of its excellent cast to reinforce the oddity of one of Pinter’s most performed plays.
A dark new Agatha Christie adaptation has become something of a Christmas tradition, and even though the BBC only started this tradition two years ago with an excellent multi-part interpretation of And Then There Were None, it has fast become an established and much anticipated highlight of the festive schedule.
Naturally, facing what felt like a significant and unbreachable rift, instability and economic downturn was the likely outcome, which for the arts, could only mean one thing – cultural depletion – as audience seek safety in comfort and nostalgia.
The Grinning Man may not be suitable for children (it has an age limit of 12 years), and it’s certainly not a Christmas show in any way, but within the grotesque world that Grose, Morris, Teitler and Phillips create there is a rare and genuine theatre magic.
Because this is an exceptional year, imperfections seem more glaring, plays that haven’t quite found their rhythm are more obvious, and Amy Herzog’s new play Belleville, premiering at the Donmar Warehouse, relies on excellent central performances to cover its dramatic weaknesses.
On Sunday (10 December 2017), MyTheatreMates welcomed 15 theatre bloggers to the inaugural #MatesMeetUp at the Union Theatre in Southwark, London. In the Union’s buzzing Over the Road cafe, overflowing with youth theatre participants and audiences at the matinee performance of Privates on Parade, our hot topics revolved around the trials and tribulations of blogging.
We are endlessly fascinated by spies and the nature of betrayal. For those who knew the men spying for Russia in the mid-Twentieth Century, more than country or ideology, it is the personal treacheries that still rankle.
It’s a layered story that opens with a pub quiz, setting the scene for the world of obsessive competition fanatics, laying a direct trail from that bar to the gameshow hot-seat.
Network is enthralling, interpreting a strange story in a slick, fast-moving production that manages to reveal the media’s rather shallow relationship with truth and makes profound statements about the concept of collective action, all the while being true to its original movie roots.
The Playhouse Theatre seems to attract a big American star at least once a year; this year it’s the turn of Christian Slater who takes on the lead role in the latest revival of Glengarry Glen Ross, David Mamet’s brutal two-act story of property salesman in 80s America.
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