Simon Stone turns his attention to another important literary woman, Phaedra as imagined by Euripides, Seneca and Racine and given a modern retelling in a production at the National Theatre written and directed by Stone. Stone’s vision for Phaedra is riveting in a piece that explores mature sexuality, fantasy and generational competition between mother and daughter.
Othello at the National Theatre is a production that has thought very carefully about the things it wants to say and, particularly, what Othello has meant at different points in its performance history. Clint Dyer’s perspective is not on fire just yet but it soon will be, bringing a meaningful reflection on Shakespeare’s tale to the stage while clearly distinguishing it from all of those that have come before.
American playwright Aleshea Harris’ dazzlingly satirical 2018 extravaganza is about two women seeking justice and getting even, and it comes to the Royal Court from New York, trailing shouts of enthusiasm.
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 promise of being “urgent, responsive and fast” may not always be achieved, but at its very best the Royal Court’s Living Newspaper: A Counter Narrative is both pertinent and full of joyous energy.
We are living, I have frequently been told, through weird times. Maybe. But do weird times necessarily require weird art? Do bad times provoke bad art?
Shoe Lady at the Royal Court is not the most involving play in the world, but it does have an evocative resonance.
Shoe Lady is an intriguing and well-considered examination of the social and domestic pressures placed on women to perform multiple and often contradictory roles in our society.
In Teenage Dick Mike Lew has created a version of Richard III that suits the high school context extremely well, asking the audience to consider attitudes to disability, power and social structures that perpetuate all kinds of inequality.
The Antipodes is certainly not the play for you if you want an easy, purely entertaining night at the theatre. However, if you’re willing to put in the effort and have something to chew over then it very much is for you.
While the descent into a kind of collective insanity may seem strange in lieu of a plot in Annie Baker’s Antipodes at the National Theatre, as with all her work you find your thoughts returning to it again and again once the curtain comes down.
Europe at the Donmar Warehouse is a magnificent revival of David Greig’s 1990s visionary classic which is timely, tough and tender, brutal and brilliant.
Michael Longhurst’s terrific, visceral debut production of David Greig’s Europe at the Donmar Warehouse packs a fierce climactic punch.
An innovative take on the lesser-known Arthur Miller play The American Clock, bringing the Vaudeville elements to the fore – as startlingly relevant as it ever has been.
Superhoe at the Royal Court is a bright new monologue about coming of age in the Instagram era that really rocks its youthful socks.
A finely tuned, rapid fire and utterly compelling 100 minutes of theatre. The Cane challenges, provokes and entertains
Mark Ravenhill’s comeback play The Cane at the Royal Court Theatre is a brilliant, complex and mature account of the abuse of power.
Mark Ravenhill’s fascinating new play The Cane at the Royal Court Theatre examines the issues of culpability for small-scale endorsed acts of violence and the nature of justice.
Now, on the main stage at the Royal Court Theatre, Rory Mullarkey’s leftfield fantasy, Pity, offers a surreal state-of-the-world account of our society, and of its discombobulations.
The best that can be said about Chris Goode’s Jubilee is that it must surely be in the running for the hotly contested accolade of the worst show of the whole decade.