I remember seeing Shelagh Stephenson’s contemporary classic at the Hampstead, when this venue was still an ageing prefab, and enjoying Terry Johnson’s racy staging,
The three sisters in Shelagh Stephenson’s play The Memory of Water – Teresa (Lucy Black), Mary (Laura Rogers) and Catherine (Carolina Main) – have gathered at their mother’s home ahead of her funeral.
Libby Purves is tempted to see The Memory of Water at Hampstead Theatre again, just to feel a more solidly packed audience laughing and gasping around her. That’s how much fun it was.
Shipwreck has its moments and the cast are uniformly excellent, but without strong character investment it dwindles to little more than a few well-hashed arguments we’ve all heard before.
The Almeida Theatre has announced the full cast for the world premiere of Shipwreck by Anne Washburn (The Twilight Zone, Mr Burns), directed by the venue’s artistic director Rupert Goold, running from 12 February to 30 March 2019 (press night is 19 February).
Love London Love Culture rounds up the reviews of Nina Raine’s latest play Consent at the Harold Pinter Theatre.
It’s been a bumper week for rape. Harvey Weinstein was indicted. Tommy Robinson was jailed for filming the accused in a grooming gang trial outside Leeds Crown Court. The world’s most durable feminist Dr Germaine Greer told Hay Literary Festival that most rape cases were ‘just bad sex’ rather than serious crimes, and in Connecticut a man got his cock out in court to prove it didn’t match his accuser’s description.
Clare Foster, Lee Ingleby and Thusitha Jayasundera have joined Claudie Blakley, Stephen Campbell Moore, Heather Craney and Adam James in Nina Raine’s Consent at the Harold Pinter Theatre from18 May 2018.
The National Theatre production of Nina Raine’s Consent will transfer to the West End, following the 2017 critically acclaimed sell-out run at the Dorfman Theatre.
Uneasy lies the head that waits for the crown. Mike Barlett’s King Charles III was a deserved award-winning success when it took the Almeida by storm in 2014, transferring into the West End and then Broadway, later touring the UK and Australia too.
It’s black and white – no means no. That should be enough right? Except all too often, sadly it isn’t, and the many different ways in which this is true form the bedrock of Consent, Nina Raine’s new play for the National Theatre, co-produced with Out of Joint.
Rape is such a serious social issue that it’s hardly surprising that several recent plays have tackled it. I’m thinking of Gary Owen’s Violence and Son, James Fritz’s Four Minutes Twelve Seconds and Evan Placey’s Consensual. All of these discuss, whether implicitly or explicitly, the notion of consent, which is the name of playwright and director Nina Raine’s latest drama about the subject.
Hugh Bonneville, making a long-awaited return to the stage, plays the role of Dr Stockmann to perfection with a mix of zealous need to do what is right and just a touch of egotistically needing to be seen as the man leading the charge.