In the last 30 years or more, roughly half of every new musical that arrives on Broadway or in the West End seems to be based on a film.
Mike Bartlett’s new monologue Phoenix effectively explores how people in power abuse the rules set in place for everyone – except seemingly for those in positions of trust.
Sonia Friedman Productions is celebrating after the Broadway transfers of The Ferryman and Ink garnered six wins at the 2019 Tony Awards, while the National Theatre had plenty to be happy about following Bryan Cranston being named Best Leading Actor in a Play for Network and Hadestown (which finished a run at the National in January this year) scooping eight awards.
Sam Mendes’ Olivier Award-winning production of Jez Butterworth’s The Ferryman received equal top billing at this week’s Tony Awards 2019 nominations announcement alongside the hit Broadway production of To Kill a Mockingbird. The productions both have nine nods including ones for Ferryman actors Paddy Considine (Best Performance by an Actor in a Leading Role in a Play), Fionnula Flanagan and Laura Donnelly. The …
Mark Shenton offers the week’s news, reviews, quotes and tweets in theatre from both sides of the Atlantic, including an interview with Sonia Friedman, reviews of Shakespeare in three different abbreviated versions, and a YouTube star appearing on Broadway.
So, that just happened! Despite some small disappointments in the nominations (nothing too much, just some things felt unnecessarily overlooked), I was rather looking forward to this year’s Oliviers.
New American musical Hamilton collected seven Olivier Awards including Best New Musical and The Ferryman went home with three prizes at the Olivier Awards 2018, the UK’s most prestigious stage honours announced tonight (Sunday 8 April 2018) at London’s Royal Albert Hall hosted by Catherine Tate.
Any number of shows could have been included in this post; frankly it’s ludicrous that I decided to stick with my whole top 12 idea… As I’ve seen about 90 more individual shows than last year.
Jez Butterworth’s The Ferryman, James Graham’s Ink and the National’s revival of Sondheim’s Follies dominate the shortlists for the 2017 Evening Standard Theatre Awards.
I’ve had a rich few weeks for playgoing. A key theme in this batch of diary entries is the reward of visiting new, new-to-me or I-haven’t-been-in-so-long-they-feel-nearly-new venues.
Bertie Carvel’s Murdoch is remarkable, adopting a forward-pressing, tense keen hunch (almost his Trunchbull hunch) denoting a young(ish) man in a hurry, and in a temper with the hidebound old country which has snubbed him often enough.
Summer’s officially over, but don’t be sad – there’s plenty of great theatre to keep you happy. Love London Love Culture’s Emma Clarendon has rounded up the productions she’s most looking forward to in September. With Mates ticket links!
“I should warn you that nobody likes me”Truth be told, I resisted seeing Ink for the longest time, mainly because I had zero desire to see a play about Rupert Murdoch. I feel the same way about Thatcher – I will never see The Iron Lady (sorry Meryl) or…
Following its current sell-out season at the Almeida Theatre, which finishes on 5 August, the premiere of Ink, written by James Graham and directed by Rupert Goold, transfers to the West End’s Duke of York’s Theatre for a strictly limited season.
He does his homework, does Graham, who is fast turning into our most consistent and energetic political farceur. If we can’t have That Was That Was, the next best thing – apart from The News Quiz, and The Now Show on `the wireless’ – is to have a Graham political drama every few months.
Graham tells the eye-opening story of how Murdoch bought the ailing Sun newspaper and turned it into Britain’s most popular tabloid by focusing on the tycoon’s relationship with Larry Lamb, the paper’s new editor, and the rivalry between Lamb and his former boss, the Mirror editor Hugh Cudlipp.
Jonathan Church and Alan Finch announce the Chichester Festival Theatre 2016 season – the last under their leadership as Artistic Director and Executive Director.
Classic. Expressionist. Socialist. Eugene O’Neill. You could add to that depressing list ‘directed by Richard Jones’, the man who sucked all the life out of Annie Get Your Gun across the road at the Young Vic by staging it as seen through a letter box.
This week the London theatre bloggers discuss The Winter’s Tale, starring Kenneth Branagh and Judi Dench and opening the year-long Branagh Theatre West End season, The Hairy Ape starring Bertie Carvel at the Old Vic, A Wolf in Snakeskin Shoes at the Tricycle and, now finished at Soho Theatre, Joanne.
From the opening moments of Richard Jones’ stunning, nightmarish production of Eugene O’Neill’s early play we have both the shock of expressionist newness – it can still disconcert, a century on – and a powerful sense of period. Both are profoundly right.
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