Chichester Festival Theatre’s Festival 2019 has been announced by artistic director Daniel Evans. It includes John Simm & Dervla Kirwan in Macbeth, Hugh Bonneville in Shadowlands & Tim Firth’s first solo musical starring James Nesbitt.
Hampstead Theatre has announced its first three productions of 2019. Highlights include: Martyna Majok’s 2018 Pulitzer Prize-winning drama, Cost of Living, making its UK premiere directed by Edward Hall on the Main Stage.
Hayley Atwell stars in this new production of Sarah Burgess’ play exploring the vulnerability and vilification of those in charge of the economy. Here’s what critics made of the play.
My verdict? A smart new play that’s about people as much as profits, some very funny moments as well as thought-provoking ones – an excellent production all round.
Sarah Burgess’ slyly wicked comedy – she’s a rising US writer – is indeed a porthole into a murky parallel world whose doings, though legal, make McMafia look like Little Women.
Hampstead Theatre has announced its first two productions for 2018: the UK premiere of Sarah Burgess’ “high finance comedy” Dry Powder and the Chichester Festival transfer of Tony Kushner’s and Jeanine Tesori’s celebrated musical Caroline, or Change, with Sharon D Clarke reprising her title role,
Ben Lloyd-Hughes and Claire Lams star in Anna Ledwich’s production of Richard Bean’s play. But what have critics been making of it?
Richard Bean is perhaps best known for making people laugh. He’s a dab hand at the escalating frenzy of farce, as well as a pleasurable punchline. Whilst One Man, Two Guvnors was a global juggernaut, his latest play, Kiss Me, is an intimate duet.
Multi-award winning writer Richard Bean’s new play Kiss Me transfers to the West End’s Trafalgar Studios after a sold-out run at Hampstead Theatre Downstairs in 2016.
Never too old: Sonja Linden and director Anna Ledwich have framed it as circus – a pun on ‘ronde’ – as we surround the action and are lectured, whip-cracked and threatened by a Weimaresque ringmistress in fishnets and top hat, who introduces each section as an act.
Sonja Linden’s Roundelay sticks two fingers up to this generalisation whilst sticking two fingers down its pants for a good old rummage around.
Drama about the 1970s and 1980s South American debt crisis is too long, too derivative and too predictable.
Hampstead Theatre announces its autumn season 2016 for the Main Stage, which will include new plays by Michael Frayn, Tony Kushner and Beth Steel.
Very well-deserved West end transfer for thrilling new play about ethics in the age of the internet… How well do parents know their kids? Especially their teenage kids. Jack appears to be a nice, well-spoken 17-year-old youngster about to take his exams. You see, he has ambitions to study law at Durham University. His parents, David and Di, think he’s a normal boy and they are really proud of all of his hard work. And of his good grades. But, in James Fritz’s compelling 90-minute play, they are about to be disillusioned. And the trick is that we never get to see Jack: he remains offstage, so all we are left with is the reactions of his parents and friends.