The online release of productions from Druid Theatre’s 2005 season of JM Synge’s complete works is a lockdown boon.
Mates blogger: Tom Bolton
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The Battle of the Beanfield is the first show by Breach Theatre, now known for the excellent It’s True, It’s True, It’s True about Renaissance artist Artemisia Gentileschi.
The chaos of national politics in the mid-1970s seemed light years away in 2014, but how arrogant that assumption seems now.
Tim Crouch’s series of performances as overlooked characters in Shakespeare is a fascinating body of work. He has been developing these one-man shows (with assistance) for more than 15 years.
I have been collecting these for at least 35 years and now have a nearly complete set of post-war programmes from the Stratford theatres (if anyone has a hoard of uber-rare, early programmes from The Other Place, I need to know).
The excitement still builds on a Thursday night, when many of us sit down to watch theatre as though it was analogue television in the four-channel era.
After the theatres closed, the National Theatre was quick to announce a free mini-season of online shows from their NT Live broadcasts, which immediately became the only evening bookings in thousands of newly empty diaries. The first Youtube show – Nicholas Hytner’s mid-2000s mega-hit, One Man, Two Guvnors – had a real sense of anticipation.
Despite the combined skills of its performers, The Cutting Edge lacks pace and drive and the key moment of crisis, which always seems around the corner, never arrives.
The Incident Room is a multi-layered and satisfying drama, a proper assessment of a story that gripped, terrified and obsessed the nation. This excellent production confronts our dark past head on.
I, Cinna is a small masterpiece of unshowy writing and performance that is some of the best small-scale theatre of its time, equally satisfying to audiences of young people and adults.
Caryl Churchill wrote Far Away in 2000 and, 20 years on, it feels more current by the moment.
The company in People Show 137 has an admirable ability to conjure moments that capture the audience’s attention and to deliver about turns that keep the audience intrigued.
Holy What’s version of Antigone is about the two teenage girls at the heart of the play, Antigone herself (Annabel Baldwin) and her sister Ismene (Rachel Hosker).
Gregory Doran’s RSC production of Measure for Measure is a subtle and absorbing account of a play that gets weirder with every viewing.
When The Crows Visit is a powerful new play, and Indhu Rubasingham’s production is a notable success for the Kiln Theatre.
Brian Friel’s Translations is a rich and complex play and, in Ian Rickson’s production which returns for a second run in the Olivier, its layers are drawn out through the performances of a high class ensemble ensemble.
Glass. Kill. Bluebeard. Imp creates an essential piece of new writing – edgy, haunting and disconcertingly relevant and Caryl Churchill, at the age of 81, is still the playwright for our times.
Bartholomew Fair is full of energy and highly entertaining throughout, while making no attempt to glamorise the city’s underbelly.
Robert Icke’s final production for the Almeida, after spectacular successes including Mary Stuart, Andrew Scott’s Hamlet and The Wild Duck, is a complete reworking of a play by Arthur Schnitzler. He rips the original play, Professor Bernhardi, out of its turn-of-the-century Vienna setting, and drops it into the information age in The Doctor.
In Sea Sick Alana Mitchell tells, in an engaging lecture, the story of how she, as a journalist, came to be investigating this little known, devastating climate change phenomenon.
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