Simon Stephens and Juliet Stevenson create a perfectly beautiful and haunting installation for our times in The Blindness at the Donmar Warehouse.
’As vivid as anything you saw on stage 5 months ago’: BLINDNESS – Donmar Warehouse
Ben and Max Ringham’s work for Blindness is a masterpiece, a 70-minute performance that layers story, sound effects, music and lighting design to immerse the audience in a pandemic experience.
NEWS: Donmar Warehouse will reopen temporarily with socially distanced sound installation featuring Juliet Stevenson
The Donmar Warehouse is to reopen temporarily from 3 to 22 August 2020 with a socially distanced sound installation – Blindness, based on the dystopian novel by Nobel-prize winning José Saramago, adapted by Simon Stephens and directed by Walter Meierjohann.
‘A kind of strange hybrid form’: THIRTY MILLION MINUTES (Online review)
A life distilled to its essentials: 30 Million Minutes indicates the rough length of time that Dawn French had been alive at the time of her solo show recorded in its final incarnation in 2016.
‘An absolute belter of a thriller’: ANNA – National Theatre
ANNA is such a great little show. It’s a curiosity, certainly, and it is worth seeing for the technical bravado alone. But it’s also an absolute belter of a thriller too, something which I don’t think it’s getting enough credit for.
‘The thriller aspects are definitely effective, if not the sense of history’: ANNA – National Theatre
Intriguing Cold War thriller Anna is thoroughly immersive, but lacks a convincing sense of historical reality.
KILLER – Shoreditch Town Hall
One of the reasons that Philip Ridley is the crown prince of imaginative playwriting is that he came at theatre from leftfield. In the 1980s, he didn’t go to drama school — he went to art college instead. This freed his mind from following established theatre conventions, and so anything was possible.
KILLER – Shoreditch Town Hall
Latest trio of monologues from Philip Ridley are performed in the dark: both chilling and humorous.
RAZ – West End
Jim Cartwright returns with a high-octane monologue about a night out, but has nothing to say beyond the banal.