Cordelia Lynn’s Hedda Tesman renews Ibsen’s play in the light of today without in any way losing sight of the original. In this age of radical reinterpretations, that’s quite some achievement.
Ultimately, all eyes are on Rachael Stirling in Plenty and she stylishly carries this story of disillusionment to its inevitable, if uncertain, conclusion.
As much a chronicle of the origins of the Glyndebourne Festival as a metaphor for the pursuit of any artistic enterprise, David Hare’s The Moderate Soprano (which is directed by Jeremy Hennin) works on many different levels.
The frenzy of John Christie, founder-owner of Glyndebourne’s opera house – a tubby, determined man with a yearning for sublimity –receives, in this lovely play The Moderate Soprano, the respect that it should.
Even with the best of intentions, it can be a little too easy to forget that there’s more to LGBT+ than just the G. Representations of gay men are increasingly common in our theatres but pickings are slim if we look towards the lesbian, bi, and transgender characters and stories.
“If music be the food of love, play on” and certainly the production of Shakespeare’s Twelfth Night at Manchester’s Royal Exchange is full of music, mirth and mischief, particularly during one particular night of mayhem.