Mike Bartlett has made a bit of an art out of notions of the counter-factual future. In The 47th, he grounds his flights of fancy in the knowledge of institutions, people and political tides.
‘This revival can’t help but resemble a middling 1970s sitcom’: HABEAS CORPUS – Menier Chocolate Factory
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?
‘Sufficient scares to get the blood pumping’: THE EXORCIST – Touring
The Exorcist is a little flabby, even at a short 100 minute running time, and it never matches the nerve-shredding tension of the movie version, but there are sufficient scares to get the blood pumping.
‘Effectively turns the screw on our emotions’: THE HUNT – Almeida Theatre
The Hunt, a striking stage version of Thomas Vinterberg and Tobias Lindholm’s 2012 film, is full of intensity.
‘This engaging debate & conversation is pure joy’: RED – West End
Michael Grandage’s revival of Red may only be 90 minutes, but there is no sense of rush here, and instead the play – much like Mark Rothko’s creations – is given room to breath, to slowly come into focus as a true picture emerges.
Happy Halloween: Clare Louise Connolly talks about playing Regan in The Exorcist
We worked a few scenes during the audition run, including the iconic movie moment where Regan spins her head around. I made sure I told our director Sean Mathias that my neck was extremely flexible!
SALOME – National Theatre
Is God female? It says a lot about Yaël Farber’s pompous and overblown new version of this biblical tale at the National Theatre that, near the end of an almighty 110-minute extravaganza, all reason seemed to have vacated my brain, and its empty halls, battered by a frenzy of elevated music, heaven-sent lighting and wildly gesturing actors, were suddenly open to the oddest ideas.