My latest ShenTens is particularly bittersweet, as we can’t actually go to any at the moment: my favourite West End theatres.
Felicity Kendal stars in A Room with a View, adapted from EM Forster’s novel by Simon Reade and directed by Adrian Noble. Full cast is now announced for the production which opens for a two-week run at the Theatre Royal Bath from 28 September to 8 October 2016, before touring until 3 December to Brighton, Richmond, Guildford Norwich, Cambridge and Chichester followed by a West End transfer.
Monologue about an acute manic-depressive episode is both vividly experiential and unforgettably informative.
Oscar Wilde’s much-loved classic play, The Importance Of Being Earnest, will be broadcast live to 350 cinemas across the UK and Ireland from London’s Vaudeville Theatre on Thursday 8 October 2015, with additional backstage footage and cast interviews exclusive to the cinema event.
Shakespeare aside, is there any playwright more quotable than Oscar Wilde? And, of all his plays, is there any more quoted than his 1895 comedy of manners, The Importance of Being Earnest? And of the famously feckless characters who populate this Wildely famous play, is there any who delivers more of those quotable quotes than Lady Bracknell?
The Mayflower Theatre, Southampton – until 6 June 2015
Okay, I’ll admit it, I went to the theatre to see an award-winning actor perform in a way you’d never expect of him… Not Bradley Cooper in the Elephant Man (though I did see that and I enjoyed his performance very much) but David Suchet stepping about as far away from the dapper Belgian detective with the distinctive moustache as we could reasonably expect!
When the Barbican Centre first opened in 1982, one of its first resident companies was the Royal Shakespeare Company, who gave up their beloved West End addresses at the Aldwych and Donmar Warehouse to move there. The Barbican’s two theatre spaces that replaced them — the mainhouse Barbican Theatre and Pit respectively — were built specifically to and for the RSC’s specifications.
So it was hugely surprising, not to say foolhardy, when then artistic director Adrian Noble suddenly decided to withdraw the company from the building entirely in 2002, and become a company that peripatetically roamed all over the capital, hiring theatres as it needed them from the Noel Coward and Novello to the Roundhouse. It did particularly impressive work in reconfiguring the Roundhouse as a bespoke space for itself, but the company’s lack of a permanent presence in London damaged it greatly.
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