Alan Bennett’s Habeas Corpus gets a belated revival at the Menier Chocolate Factory. Stuck in the past, should it have been left in the past too?
Giles Terera (Hamilton) will be joining the cast of Arthur Miller’s The American Clock at the Old Vic, directed by Rachel Chavkin, to play Robertson/Moe 3.
The Old Vic has announced initial casting for Arthur Miller’s The American Clock at The Old Vic, directed by Rachel Chavkin (Natasha, Pierre & the Great Comet of 1812, Hadestown) with music by Justin Ellington from 4 February to 30 March 2019 (press night is 13 February). The cast includes: Amber Aga, Paul Bentall, Greg Bernstein, Clare Burt, Flora Dawson, Abhin …
Suicide is the single biggest killer of men under 45 in the UK. It’s a sobering fact to be presented with at the start of Alex McSweeney’s exceptional new drama, Distance, which has opened at London’s Park Theatre.
Alex McSweeney’s Distance playing at the Park Theatre displays an innovative representation of the experience of depression, but with a slightly wandering narrative.
That it is sold out shouldn’t stop you from trying to get tickets – there’s Friday Rush and there’s refreshing this page in case of returns, and boy is it worth it.
Bleak statistics show that a person commits suicide on Britain’s rail network every 31 hours and, as we learn in the play, for every fatality there are another three people who attempt to take their own lives. That number is a sad reflection on our time and forms the fabric of Kieran Knowles’ new play.
Kieran Knowles’ insightful show focusses not on those who moan about the loss of life, but on those whose job it is to clean it up, remove all trace and get the railways up and running again.
This latest play by Kieran Knowles is brought sharply to life in Abigail Graham’s brutally honest production.
Black theatre used to be one of most creative aspects of contemporary British drama. But recently a lot of the impetus behind plays by black playwrights seems to have dried up. The great names of the past couple of decades are either silent, or, which is worse, merely repeating themselves.
The hugely convivial pre-show entertainment for Barber Shop Chronicles is such good fun that I thought to myself I could easily just watch this for an hour. As it turned out, press night delays meant that it was extended by about thirty minutes, during which you really got to appreciate how quietly radical it is.