With all its effortful but pointless violence, Dennis Kelly’s After the End leaves me cold at the Theatre Royal Stratford East.
‘Urgent, provocative & familiar all at the same time’: NORA: A DOLL’S HOUSE – Young Vic Theatre
Despite the challenges, and judging by the Young Vic’s typically youthful, mixed audience, Nora: A Doll’s House is a production to which they can relate and which, so far as I could see, kept them on the edge of their seats.
‘Hauntingly good in its fluidity’: THE SON – West End
British theatre’s determination to adopt Florian Zeller as one of its own continues unabated as the Kiln Theatre’s production of The Son transfers into the Duke of York’s for the autumn.
‘Devastatingly raw piece of drama’: THE SON – West End ★★★★★
Brilliantly and emotionally engagingly translated by Christopher Hampton, Florian Zeller’s The Son is a piece of writing that draws you in from the start and never relinquishes its hold until the very end.
‘Akin to a beautifully composed piece of music’: THE SON – West End
The Son is akin to a beautifully composed piece of music. A perfect balance of light and shade with an inevitable surge to a heart thumping climax.
‘A tense psychological thriller as bleak as it is strong’: THE SON – Kiln Theatre ★★★★
The final episode of Florian Zeller’s domestic trilogy, The Son, is powerfully, even melodramatically, effective.
‘A gripping & intense drama’: THE SON – Kiln Theatre ★★★★
There is a heartbreaking inevitability to Florian Zeller’s play The Son which is currently on at the Kiln Theatre. Nicolas (Laurie Kynaston), a once bubbly teenager, has become withdrawn since his parent’s divorce. He lies, skips school and his behaviour has started to frighten his mother Anne (Amanda Abbington).
NEWS: Amanda Abbington will star in Florian Zeller’s The Son at the Kiln Theatre
As the world première of Ishy Din’s Approaching Empty opens at Kiln Theatre, the company’s artistic director Indhu Rubasingham has announced the casting for the UK première of Florian Zeller’s The Son, in a translation by Christopher Hampton. Michael Longhurst directs Amanda Abbington, Laurie Kynaston, John Light, Oseloka Obi, Amaka Okafor and Martin Turner. The production opens on 26 February 2019, with previews from 20 February, and runs until 6 April.
‘Little here that rings with profound resonance’: I’M NOT RUNNING – National Theatre
I’m Not Running is David Hare’s 17th new play to be presented at the National Theatre but for a playwright known for espousing the state of the nation in his work, there’s a frustrating vagueness that leaves him feeling just a little out of touch.
‘Is the play crammed too full?’: I’M NOT RUNNING – National Theatre
David Hare’s latest play I’m Not Running at the National Theatre is set in an alternative reality that is more 2008 than 2018 and says nothing about Labour’s current malaise.
‘It’s Noel Coward’s Private Lives done grunge’: I’M NOT RUNNING – National Theatre ★★★
This time David Hare’s main theme in his new play I’m Not Running is the difference between campaigners who become treasured heroes on limited issues – especially the NHS, which pushes everyone’s button – and pragmatic machine-politicians in government or opposition.
‘A red-trousered disappointment’: MACBETH – National Theatre
A whole lot of post-apocalyptic hurly-burly and sadly not much more besides – the National Theatre’s Macbeth really is something of a red-trousered disappointment.
SAINT GEORGE & THE DRAGON – National Theatre ★★★
The National Theatre’s current production of Saint George and the Dragon is a modern and ambitious twist on the traditional folk tale of Saint George the dragon-slayer. Described as “a folk tale for an uneasy nation” this production time travels from the medieval times all the way to the current day.
HAMLET – Almeida Theatre
It’s Shakespeare for the Borgen generation – a slick and surveillance-heavy visual on a cool penthouse set where Juliet Stevenson’s splendid dirty dancing Gertrude can shag Claudius on a couch while the Norwegian ambassador paces the corridor.
HAMLET – Almeida Theatre
This production will doubtless have its detractors – it’s not spoken precisely enough, it doesn’t smell of war enough, there are too many watches – but for me, it is as exciting and engaging as Hamlet gets. The best I’ve witnessed out of the 15 I’ve watched.