Theatre photography is one of the most important ways to promote a new production and simultaneously one of the elements audiences – and probably most creatives – actively think least about.
As Simon Evans’ cheeky new comedy points out, when the Government finally gives the go-ahead, the best-prepared teams will have their pick of the playhouses and first dibs on an audience desperate to get back to live theatre.
For better or worse, the association between theatre, television and film has only grown closer in the last ten years, not just with artists moving between the different genres but also in the adoption of cinematic technique within productions.
When it was first performed in 2012 James Graham’s This House was an affectionate satire, using its 1970s setting to examine the still young Conservative-Liberal Democrat coalition government formed in 2010.
As a great American dramatist, Williams’s timeless understanding of human emotion and the particularly explosive dynamics of family groups has always been such a notable feature of his writing.
This is the theatre at its very best and on screen, both productions are gripping, using the camera work to richly convey the abstract shapes and grand vision of its boldly beautiful staging, while allowing the connection between the lead actors to shine.
Macbeth is one of Shakespeare’s most frequently performed plays, and it is a story filled with death, danger and prophesy.
The first show in the National Theatre at Home programme was the 2011 smash-hit One Man, Two Guvnors, one of the great success stories of the Nicholas Hytner era, a cheeky farce written by Richard Bean and starring National Theatre favourites James Corden and Oliver Chris.
Three Sisters at the National Theatre, Uncle Vanya at the Harold Pinter and The Seagull at the Playhouse Theatre have all taken very different approaches to reworking Chekhov, bringing fresh insight and relevance to a writer whose plays have often felt rather dry.
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.
It may be almost 20 years old, but Jason Robert Brown’s The Last Five Years feels timeless and recognisable and this bold restaging at Southwark Playhouse is a triumph.
The psychology of Blithe Spirit snaps convincingly into place in Richard Eyre’s production while at the same time it fully utilises every opportunity to make the audience laugh.
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.
Tom Stoppard’s personal story in Leopoldstadt sees the writer return to form as a commentator of cultural, social and historical patterns.
Much is to be taken from the strangeness of the settings and fine characterful performances in Endgame and Rough For Theatre II which should please Beckett fans and providing plenty of thoughtful material for the journey home.
In opening-up the female experience of the era in Faustus: That Damned Woman, Chris Bush reinforces the decision to switch the gender of the central character.
This Uncle Vanya is more roundedly entertaining than other recent productions and while that detracts a little from the emotional undercurrents of the original, the fluidity and richness of Rickson’s production, performed by an excellent cast, ensure a satisfying Chekhovian conclusion.
In The Tyler Sisters Alexandra Wood reverses expectations of storytelling and in the process fills a notable gap in charting the experience of just being a sister day-to-day and year-to-year.
With a new year fast approaching, it is an interesting time to reflect on small changes across the theatre landscape in 2019 that will continue to shape how UK theatre will look as it moves into a new decade.
In a strong year for new London productions, Curtains finishes 2019 on a high with a true song and dance show that glories in its love of the stage and the process of putting on a production.