London’s Royal Court Theatre has announced its reopening programme, running from 16 June to 18 December 2021. Highlights include: seven methods of killing kylie jenner by Jasmine Lee-Jones, The Song Project created by Chloe Lamford, Wende, Isobel Waller-Bridge and Imogen Knight, Is God Is by Aleshea Harris, What If If Only by Caryl Churchill and Rare Earth Mettle by Al Smith.
The Old Vic has announced its Back Together season, the seventh from artistic director Matthew Warchus, which will run from July 2021 to July 2022 and combines both streamed and live shows.
If the intimate play A Number feels a bit lost in the vast space of the Bridge, the performances are big enough to give it the required punch.
A Number packs a lot of themes, meaning and ideas into just an hour of stage time in a production that asks big questions about scientific progress.
Churchill’s vision two decades ago in Far Away now seems even more prescient and accurate of planet Earth’s downhill spiral: endless wars and realignments, climate change, imminent environmental catastrophe.
Caryl Churchill wrote Far Away in 2000 and, 20 years on, it feels more current by the moment.
This well-focused revival of Caryl Churchill’s, brief dystopic classic Far Away is vivid but frankly unexceptional.
New touring play The Gift from Eclipse is a wonderfully complex and emotionally powerful account of race and Empire.
A new play about optimism, You Stupid Darkness! is compassionate in conception, but repetitive and frustrating in performance.
Looking ahead to some of 2020’s exciting shows, most with an emphasis away from the West End and instead focusing at the London Fringe and across the UK.
New 2020/2021 productions at London’s Bridge Theatre will begin with Polly Findlay directing Roger Allam and Colin Morgan in Caryl Churchill’s play A Number at London’s Bridge Theatre.
Jemima Rooper, Kate O’Flynn, Zainab Hasan and Joanna Horton carry a lion’s share delivering the vitriol, pain and helplessness of struggling women in [Blank].
Alice Birch’s experimental new play [Blank] prioritises form over content and is at heart depressingly reactionary.
Caryl Churchill’s Glass. Kill. Bluebeard. Imp. at the Royal Court is wonderfully bright and incisively perceptive.
As a body of work, Caryl Churchill’s four plays Glass. Kill. Bluebeard. Imp complement each other well and offer a bold social commentary that is dark, foreboding and surreal.
Glass. Kill. Bluebeard. Imp creates an essential piece of new writing – edgy, haunting and disconcertingly relevant and Caryl Churchill, at the age of 81, is still the playwright for our times.
Random and topical thoughts and quotes gathered by My Theatre Mates contributor Aleks Sierz, first published on www.sierz.co.uk.
Three new plays by Caryl Churchill and a first mainstage appearance by Bezhti author Gurpreeet Kaur Bhatti are among the highlights of the Royal Court Theatre’s next season, a whole year of work which spans from September 2019 to August 2020.
I’m coming to Caryl Churchill’s Top Girls (1982) afresh. Well, sort of. I read the play a few years ago, but I’ve not seen it and wasn’t born until 10 years after its original production at the Royal Court.
Top Girls is a curious play, a mixture of moments that had me mentally punching the air, feeling angry and a little frustrated.