Thornton Wilder’s writing in Our Town feels as fresh and innovative as it must have done in the 1930s and taking an early season risk on a less conventional play ultimately pays off.
Even a middling Tennessee Williams play – Orpheus Descending – is better than most, and this one still has plenty to say about sacrifice and suffocation in small-town America
It’s Marianne Elliott’s impressionistic approach that yields considerable insight into the themes of Death of a Salesman, the characters’ attachment to material possessions as indicators of success, and most especially to the physical home that contains their family history, which they have spent decades slowly paying-off.
Most importantly Ian Rickson’s gripping production of Rosmersholm suggests that great female roles are to be found among the classics if only we look hard enough.
With compelling performances from the four leads this production of All My Sons fulfils its promise, a gripping Miller tragedy that concludes with a lasting sense of devastation.
It is a vibrant and meaningful interpretation of Chekhov’s Three Sisters that reaps rewards. Keep on an eye on this new theatre partnership, it could be around for many years to come.
Smartly adapted by Henry Filloux-Bennett, Nigel Slater’s Toast will warm you through without disguising its darker flavours, a satisfying and hearty concoction that sees the world through the eyes of a child.
Grief on stage and in popular culture is rarely considered as a psychological state of its own but as a means or driver for other behaviour.
In just six months, Jamie Lloyd’s creative team and ever-changing company of actors has utterly transformed our perspective on Harold Pinter.
Whether rehabilitation is truly possible for such serious crimes committed by sex offenders, Bruce Norris never really decides, leaving only a dramatically engaging but morally troubling outcome in Downstate at the National Theatre.