Hampstead Theatre has announced its spring/summer 2020 programme, Hampstead Classics, celebrating 60 years of original theatre.
Hampstead Theatre presents the new comedy Paradise from Dusty Hughes, directed by Alice Hamilton. Love London Love Culture rounds up the reviews.
Directed by Alice Hamilton, Thirty Christmases brings the external peculiarities of the holiday season to the fore, plus the bittersweet nature of spending time with family at the close of the year.
When I read that Anything that Flies was her debut play by writer, Judith Burnley, I naturally assumed it was a young playwright being given a big chance by Jermyn Street’s new artistic director, Tom Littler.
This surprisingly warm and heartbreaking story about grief and displacement feels slight in telling audiences anything new about the pain that World War II caused both Jewish and German people caught up in the atrocities.
In David Storey’s The March of Russia, Up in Arms find a source of such acutely observed family, domestic pain and political pertinence as to set the heart racing afresh.
Casting has been announced for the second production of Jermyn Street Theatre’s autumn ESCAPE Season. Alice Hamilton directs the world premiere of Judith Burnley’s Anything That Flies, starring Clive Merrison and Issy van Randwyck.
David Storey’s family celebration drama of 1989 is typically natural, subtle and poignant, but also retro
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As you’d expect from the playwright who wrote Visitors (2014) and Eventide (2015), this new one is an ideal studio piece, in which it is important to hear every word and intonation, and see even the smallest gesture.
Walking back from the Bush the other evening, I glanced back at the Green and remembered the years when the one-room Bush hovered above a far from welcoming pub, up some uncomfortable and cranky stairs. For years and years.
In March 2017, following a landmark year taking plays into the communities of West London, the Bush Theatre will return home following a £4.3m revitalisation of the venue. The year-long redevelopment has been driven by the aim of realising Artistic Director Madani Younis’ vision for a theatre that reflects the diversity and vibrancy of London today. The Bush Theatre strives …
Salisbury Playhouse’s spring/summer 2017 season has been announced and includes a brand new commission from award-winning playwright – and Salisbury native – Barney Norris. Norris’ new play, Echo’s End (29 March to 15 April 2017), is set on the edge of Salisbury Plain in 1915 as a young couple finds itself caught up in the turmoil of World War I
Lovely, and indeed loving, revival of Robert Holman’s resonant 1977 play about life choices is quietly moving.
The new spring season for the Orange Tree Theatre in Richmond, south London, features plays by Robert Holman, Chris Urch, Brad Birch and Bernard Shaw, directed by Ellen McDougall, Alice Hamilton, Mel Hillyard and Artistic Director Paul Miller. Artistic Director Paul Miller announces the January to June 2016 season at the Orange Tree. It follows a year of award-winning theatre …
We are in a pub garden in rural Hampshire, where landlord John is gathering logs for the fire (in high summer, “it’s part of what people come for”), and telling a joke about a ferret and a blow-job to cheer up Mark, a lanky, sad youth. Along comes Liz the bravely prattling church organist. They talk. A year later, they meet again. That’s all. But it is immense.
Playwright Barney Norris has followed his award-winning debut Visitors with Eventide, which is now running at London’s Arcola Theatre before touring until 15 November 2015, care of Up in Arms, the theatre company he co-founded with director Alice Hamilton. I’m a huge fan of Barney, both as a great writer and a great thinker. In this second […]
I’ve been looking forward to Barney Norris‘ new play ever since I caught his acclaimed four-hander Visitors at the Bush Theatre last year. The play, which centred on an elderly couple dealing with the devastating consequences of dementia, affected me deeply. Partly, that was because of my own family’s experience with my father’s recent post-operative delirium, but mainly […]
35 years after his death, Kenneth Tynan still has the power to slice through the loudest chatter a rabble of theatre-goers can summon up. In Orson’s Shadow – Austin Pendleton’s knowingly smug biography of the founding fathers who devised the blueprint for the National Theatre – the legendary critic, played by a dashing Edward Bennett, strolls onto the stage before the lights go down. Right from his nonchalant entrance and through a meta-fictional commentary that sees him refusing to leave his profession in the wings, Bennett’s character casts himself as the driving force behind this show.