Doctor Faustus at Shakespeare’s Globe certainly provides an entertaining evening and, if it raises questions as well as providing answers, its approach is fresh, important and fascinating.
Mates blogger: Tom Bolton
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The latest from Tom on MyTheatreMates
Singer-songwriter Anaïs Mitchell’s ‘folk opera’, Hadestown, is based on the Orpheus and Eurydice myth, the ultimate ancient story about music.
The fourth instalment in Jamie Lloyd’s consistently enjoyable season of Harold Pinter’s short plays contrasts plays from either end of the writer’s career.
Project 2 – Katy Schutte and Chris Mead – are improvising 13 shows, a different one for every night of their run at the Rosemary Branch Theatre.
Robert Icke’s new production of The Wild Duck is bold and controversial but delivers an interpretation that strikes home very hard indeed.
The story of It’s True, It’s True, It’s True at the Diorama Theatre is in itself fascinating and highly relevant to current concerns, but director Billy Barrett and dramaturg Dorothy Allen-Pickard have created much more than a simple retelling.
A Very Very Very Dark Matter is perhaps the least complete of his works for the stage, but its fierce anger and gleeful South Park-style offensiveness makes it unlike anything else on a stage right now, in London or anywhere else.
Tamburlaine at the Swan Theatre, Stratford-upon-Avon brings the wonder and the terror of Marlowe’s shepherd emperor to life in a production that gives an almost faultless account of a defective but fascinating play.
In contrast to Rufus Norris’ Macbeth at the National, with Rory Kinnear and Anne-Marie Duff, the RSC’s current production is focused and direct. This ensures that it is more of a success, but also proves its weakness. Polly Findlay’s production is certainly the more coherent and features strong leads.
David Suchet, image copyright Marc Brenner The Lover / The Collection by Harold Pinter – Pinter Theatre, London Both these plays, part of Jamie Lloyd’s ingenious idea for a complete season of Harold Pinter’s short works, are from the early 1960s. Nearly 60 years later any normal playwright’s work would be showing its age, but … Continue reading The Lover / The Collection
It is in the telling of the tales, though, that Arabian Nights really comes alive. Iris Theatre uses a spectacular array of puppets, from a towering, glowing-eyed King Shahryar to birds, ships and sea monsters.
Stefano Massini’s work about the origins of Lehman Brothers Bank is a domestic epic and a remarkable evening of theatre.
David Ireland’s play Ulster American, about a Hollywood actor arriving in Britain to play the lead in a play by an Ulster Protestant writer, is a riot.
DUPed is a low-key but important monologue, fascinating in itself but something that also feels like the notes for something bigger to come.
Prehistoric is an impressive drama, which delivers a forgotten history as part of a compelling account of growing up, physically, culturally and politically.
Writers Kieran Hurley and Gary McNair have strong Edinburgh records, and they join together at Summerhall for a play which generates serious late night energy.
Antosh Wojcik is a poet and a drummer, an unusual but logical combination. In his one-man Summerhall show, he brings his skills to a performance that is highly distinctive – both experimental and emotionally powerful.
Ed Edwards’ new play The Political History of Smack & Crack takes the hopeless territory of addiction, a never-ending round of petty crime, near death, recovery and decline, and places it in a remarkable geopolitical context.
Ontroerend Goed may be based in Belgium, but their varied and inventive work is an invaluable part of the British theatre scene. Their show £¥€$ (Lies), a hit at last year’s Edinburgh Fringe, continues the strand of their work that puts the audience in the spotlight.
The National Theatre brings a fascinating cast to Exit the King, the story of King Berenger, who has lived and ruled for 400 years. He is played by Rhys Ifans, a wild and unruly actor who is becoming more interesting with age.
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