A year ago, on 16 March 2020, theatres across the country closed their doors due to the pandemic. Survey results collected by the Society of London Theatre (SOLT) and UK Theatre from across the theatre sector paint a picture of an industry that has struggled to survive the past 12 months and faced huge financial strain – but remains resilient and adaptable.
I’ve just gorged on the second series of Staged, the blissful second series of the actors-in-lockdown zoom show, directed and co-written by Simon Evans, with Michael Sheen and David Tennant playing (versions of) themselves.
While Matthew Warchus at the other end of the Cut from the Young Vic, may have the Old Vic that he presides over (without any subsidy) dark, too, actually the theatre has been in use regularly and has continued to produce throughout the pandemic, with its “In Camera” broadcasts of live performances that have been staged in its empty auditorium.
Despite committed performances by Blanchett and Dillane, there is something cold and mechanical to what is going on in When We Have Sufficiently Tortured Each Other at the National Theatre.
The publicity for Martin Crimp’s new play, gleefully stoked by the National Theatre, has been all about Cate Blanchett and ‘bondage’ scenes
Martin Crimp’s new play, When We Have Sufficiently Tortured Each Other at the National Theatre, has been hyped because of its star, Cate Blanchett, and rightly so: it’s a five-star show.
While it may not necessarily live up to expectations, When We Have Sufficiently Tortured Each Other is a dark humoured, somewhat odd yet gripping production, and worth a watch for the performances alone. But if it’s the shock value you’re after, there is nothing here that you wouldn’t see on post-watershed television.
Strong performances from Cate Blanchett and Stephen Dillane make the challenging When We Have Sufficiently Tortured Each Other worth the effort at the National Theatre.
We’ve said goodbye to 2018 — including a look back at some of the year’s highlights and lowlights. Now it’s time to look ahead to 2019 — and offer my picks of the year so far announced.
When tickets went on sale for the concluding play in Jamie Lloyd’s Pinter at the Pinter season – Betrayal starring Tom Hiddleston – those who had already booked tickets for other, arguably less commercial plays, were given 24-hours priority booking.
Mark Shenton views the week of news, openings & upcoming awards… in the West End, Broadway & beyond.
Rufus Norris has unveiled the National Theatre’s plans for 2019 and beyond. Highlights include the world premiere of Small Island adapted by Helen Edmundson from Andrea Levy’s novel, directed by Rufus Norris.
Cate Blanchett and Stephen Dillane will perform in the world premiere of Martin Crimp’s play When We Have Sufficiently Tortured Each Other (Twelve Variations On Samuel Richardson’s Pamela), directed by Katie Mitchell at the National Theatre in January 2019.
Lin-Manuel Miranda, Cate Blanchett, former American Vogue editor Anna Wintour and Phoebe Waller-Bridge will help host this year’s Evening Standard Theatre Awards on 3 December.
Next month, the annual Tony Awards celebrate Broadway’s best of the best. Notable nominations include Natasha, Pierre and the Great Comet of 1812 and Groundhog Day, both up for several awards.
I have to admit that I wasn’t much enamoured by the prospect of a Bob Dylan musical but when I stopped to think about it, I don’t know why I was worried because I’ve long been of the opinion that Dylan’s songs are best sung by other people.