Cut off in its prime in March, Ian Rickson’s Uncle Vanya returns to us from an empty theatre, filmed for cinema release.
‘A thoroughly sobering piece of work’: NO MASKS (Online review)
Back in April, part of Theatre Royal Stratford East’s response to the pandemic was to create a new type of project. They put out a call to key workers in the local community to share their stories via a video wall. Out of some of these writer Rebecca Lenkiewicz and director Nadia Fall have created a series of imagined monologues which have been filmed as No Masks.
NEWS: Tickets go on sale for cinema screenings of Ian Rickson’s production of Uncle Vanya
Tickets are now on sale for theUK, Ireland and international cinema screenings of Ian Rickson’s highly-acclaimed production of Conor McPherson’s new adaptation of Uncle Vanya, starring Toby Jones and Richard Armitage.
NEWS: Ian Rickson’s celebrated production of Uncle Vanya to receive cinema & broadcast release
Sonia Friedman Productions has announced that Ian Rickson’s highly-acclaimed production of Conor McPherson’s new adaptation of Uncle Vanya, forced to close in March when the West End went into lockdown, has been filmed on stage at the Harold Pinter Theatre in partnership with Angelica Films.
‘A triumphant tragicomedy’: UNCLE VANYA – West End
Conor McPherson’s adaptation of Uncle Vanya featuring Toby Jones and Richard Armitage at the Harold Pinter Theatre is so good you can forgive the “wanging on”.
‘Far lighter than the themes of the play might suggest’: UNCLE VANYA – West End
This Uncle Vanya is more roundedly entertaining than other recent productions and while that detracts a little from the emotional undercurrents of the original, the fluidity and richness of Rickson’s production, performed by an excellent cast, ensure a satisfying Chekhovian conclusion.
LOST WITHOUT WORDS – National Theatre
It’s fashionable these days to rubbish acting and actors and lump them altogether, disparagingly, as `luvvies’. But really we’d be lost without them.
LOVE – National Theatre
No remedy for the January blues this, but one of the most brutally affecting pieces of theatre you could ever bear to see. Alezander Zeldin’s Love follows what life can be found in the anonymous surroundings of a halfway house, a hostel run by the council for people in need of temporary accommodation. People are only meant to be there for a maximum of six weeks but with the system in meltdown, some have been there for over a year, living beyond what anyone could ever call reasonable.
LOVE – National Theatre
Alexander Zeldin’s world premiere of Love is by no means a stereotypical interpretation of the emotion. Natasha Jenkins presents a semi-immersive set, a run-down, stark social housing unit that bleeds out into the audience space – the front rows directly sit in the way of the production itself.
LOVE – National Theatre
New devised piece about poverty and temporary accommodation is extremely powerful, but also deeply flawed.
LOVE – National Theatre
As a conscience-pricker, the NT’s Christmas feelbad offering, it is effective. When the magnificent Anna Calder-Marshall as the old mother finally staggers through the audience towards the stage death of the year, there was a standing ovation and I think it was mainly for her.
EVENING AT THE TALK HOUSE – National Theatre
Latest play by Wallace Shawn stars the playwright and is brilliantly satirical, but not much fun as an experience