Headlong has announced its programme for 2020/21, the final season under current artistic director Jeremy Herrin.
It is the slight rearrangement of the text and its implication for the female characters that is Nicholas Hytner’s most notable achievement here in A Midsummer Night’s Dream at the Bridge Theatre.
Come From Away, Company and The Inheritance led the way with four awards each at the Olivier Awards 2019 with Mastercard, announced at a ceremony tonight (Sunday 7 April) at London’s Royal Albert Hall, hosted by Jason Manford.
Matthew Lopez’s epic two-part drama The Inheritance was the big winner at the 2018 Critics’ Circle Theatre Awards held today at the Prince of Wales Theatre in London’s West End, hosted by Critics’ Circle Drama Section chairman Mark Shenton.
Among the theatre performers and practitioners named in the New Year’s Honours list are actors Sophie Okonedo, Jim Carter and Thandie Newton, along with set and costume designer Bunny Christie and choreographers Anthony Van Laast and Richard Alston.
Though Robert Icke’s didacticism can be irritating, this Wild Duck undoubtedly pulls its modern audience into Ibsen’s tense, spiralling emotions to powerful effect.
They don’t come much more glitzy than a new Sondheim production in the West End. That Company is one of Sondheim’s most popular if not THE most popular of his musicals could be gauged by the roar that went up on opening night even before the lights had dimmed.
An evening at Marianne Elliott’s production of Company at the Gielgud Theatre is unquestionably fine theatre. Everybody rise.
Marianne Elliott brings Company to the West End with a production that may well change the musical forever.
For Julius Caesar at the Bridge Theatre, Hytner has taken out the stalls seats of the new Bridge Theatre and created a promenade performance which begins, like a Trump rally, with a warm-up. It’s one of the best pre-shows I’ve ever seen.
Surrounded by those with seated tickets and lorded over by scene after scene of masterclasses in the craft, the cheap seats in the pit for Julius Caesar at the Bridge Theatre are without doubt the best.
This production of Julius Caesar at the Bridge Theatre captures the audience’s attention (no matter where you sit or stand) to such great effect that the (just over) two hours passes quickly and powerfully. Well worth a visit.
Julius Caesar at the Bridge Theatre is a visceral and dynamic take on the classic Shakespearean political thriller with star performances and innovative staging.
Nicholas Hytner’s production of Julius Caesar at the Bridge Theatre is nothing short of a Roman triumph, capturing the wonderful lyricism of Shakespeare’s writing, in what are some of his most beautiful speeches, with an urgency of action that means two hours just races by.
The winners of the London Evening Standard Theatre Awards were announced tonight (Sunday 3 December 2017) at a ceremony at London’s Theatre Royal, Drury Lane: three of the nine awards went to the premiere of Jez Butterworth’s The Ferryman
Emma is a role to stand shoulder to shoulder with Rooster from Jerusalem. It wouldn’t surprise me in years to come if female actors mention the role in conversations about dream roles in the same way their male counterparts do Hamlet. It is, in short, a gift.
Anne-Marie Duff and Kenneth Cranham try their best in unconvincing rom-com, which is predictable and portentous.
This one has been received with respect, but it was hard to help feeling that this 80-minute two-hander represents one of those cases where an immensity of theatrical talent gets heaped on a work so weightless that it would crumble to dust without that exoskeleton of high craft and sincerity.
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.
Having read the book a few years ago, I was quite curious to see how Mark Haddon‘s The Curious Incident of the Dog in the Night-Time would translate to the stage and Simon Stevens adaptation certainly doesn’t disappoint. It is spellbinding!
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