Broadcast on the fifth anniversary, one cannot but conclude that Grenfell, Scenes From The Enquiry is a devastating critique of a system which put money before people and allowed a tragedy which claimed the life of 72 victims to take place.
David Hare’s new play is a history lesson. New York city planner Robert Moses shaped the modern city by supplying it with expressways and parkways.
It is not often I resort to drawing in the notebook, but there it is: half an hour into the first part of David Hare’s play about the city planner Robert Moses, whose demonic energy built modern New York between the 1920s and the ’60s.
Radio 4’s version of The Master Builder adapted by David Hare based on Torkil Heggstad’s translation takes a firmer line on the central character and the consequences of his poisonous behaviour, adding a fresh and topical perspective without overtly disrupting or rerouting Ibsen’s purpose.
Additional performances have gone on sale for David Hare’s Beat the Devil and Inua Ellams’ and Fuel’s production of An Evening with an Immigrant, the one-person plays at London’s Bridge Theatre now extended until 7 November 2020.
Covid-19 must have its say to start with, so off goes the season with Ralph Fiennes directed by Nicholas Hytner and delivering Beat The Devil, a monologue by David Hare.
Emma Clarendon rounds up the reviews for David Hare’s new monologue Beat the Devil, performed by Ralph Fiennes at the Bridge Theatre.
The first short play is Beat the Devil in which David Hare stakes first claim to what will surely be a new genre or at least a familiar theme in the coming months – the Covid monologue.
David Hare gets in first with his Coronavirus monologue Beat The Devil at the Bridge Theatre, evocatively performed by Ralph Fiennes.
London Theatre Company has announced its repertoire plans to reopen the Bridge Theatre during September and October 2020, “assuming that the Government gives the go ahead for indoor performances with socially distanced audiences”.
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.
Director Alexander Lass has teamed up with producer Debbie Hicks on two major play productions running at The Vaults this autumn: the first-ever revival of David Hare‘s 2003 play The Permanent Way, which opened in September, and, starting performances tonight (17 October 2019), the UK premiere of Sam Shepard‘s 2009 play Ages of the Moon. We caught up with him to learn …
David Hare’s award-winning 2003 verbatim drama The Permanent Way, now receiving its first major revival at The Vaults, covers four major disasters that followed railway privatisation. Do you remember Southall, Ladbroke Grove, Hatfield and Potters Bar? You should. Time to get booking!
Do you remember what else was happening in the world in 2003? That was the year The Permanent Way premiered, ten years after The Railway Privatisation Act. It was also the year that the US, under President George Bush and supported by the UK under Prime Minister Tony Blair, invaded Iraq. What perspective could playwright David Hare offer then and now?
Did you know that David Hare’s The Permanent Way has a subtitle? It’s “La Voie Anglaise”… “The English Way”. This play is about more than just railways.
Critics such as the Guardian’s Michael Billington who saw the premiere of David Hare’s modern masterpiece The Permanent Way are amongst those praising its first, timely return in a limited Off-West End season. We’ve rounded up review highlights below. Time to get booking!
If the devil is in the detail, David Hare’s old polemic against rail privatisation, Permanent Way, is a satanic ejaculation.
As part of her ongoing post-show Q&A series, Mates co-founder Terri Paddock is back at The Vaults for the major revival of David Hare’s 2003 play The Permanent Way. Got any questions for director and cast?
Rupert Everett’s fascinating performance hides some of the deficiencies inherent in this production of Uncle Vanya which never gets to the heart of this transcendent play.
Peter Gynt, a new adaptation of Ibsen’s apparently unstageable Peer Gynt by David Hare, is a great success as a piece of writing and so much fun.