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.
David Hare has made as much sense of Ibsen’s sprawling masterpiece Peer Gynt as seems possible.
Ultimately, all eyes are on Rachael Stirling in Plenty and she stylishly carries this story of disillusionment to its inevitable, if uncertain, conclusion.
We’re told Plenty is viewed as a modern classic. For the life of me I have no idea why and the sterling work of this excellent cast can do nothing to dissuade me.
Penelope Wilton almost, almost, makes it worth seeing a David Hare play with The Bay at Nice at the Menier Chocolate Factory.
The Menier Chocolate Factory has announced a major revival of David Hare’s The Bay at Nice. Richard Eyre directs Martin Hutson, Ophelia Lovibond, David Rintoul and Penelope Wilton. The production opens on 19 March 2019, with previews from 14 March, and runs until 4 May.
Gershwyn Eustache Jnr, Leah Harvey and Aisling Loftus lead the cast of Small Island, adapted by Helen Edmundson from Andrea Levy’s prize-winning novel, directed by Rufus Norris in the Olivier Theatre, as part of the National Theatre’s new season.
Random and topical thoughts and quotes gathered by My Theatre Mates contributor Aleks Sierz, first published on www.sierz.co.uk.
I’m Not Running is, for my money, the sort of political theatre that gives both politics and theatre a bad name.
Mark Shenton offers the week’s news, reviews, quotes and tweets in theatre from both sides of the Atlantic, including an interview with Sonia Friedman, reviews of Shakespeare in three different abbreviated versions, and a YouTube star appearing on Broadway.
I’m Not Running is David Hare’s 17th new play to be presented at the National Theatre but for a playwright known for espousing the state of the nation in his work, there’s a frustrating vagueness that leaves him feeling just a little out of touch.
David Hare’s latest play I’m Not Running at the National Theatre is set in an alternative reality that is more 2008 than 2018 and says nothing about Labour’s current malaise.
This time David Hare’s main theme in his new play I’m Not Running is the difference between campaigners who become treasured heroes on limited issues – especially the NHS, which pushes everyone’s button – and pragmatic machine-politicians in government or opposition.
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.
Details have been announced for the National Theatre’s season running from July 2018 to January 2019. Highlights include Peter Brook returning to direct at the NT for the first time in 50 years with The Prisoner, plus new plays from Nina Raine and Anthony Neilson.
As much a chronicle of the origins of the Glyndebourne Festival as a metaphor for the pursuit of any artistic enterprise, David Hare’s The Moderate Soprano (which is directed by Jeremy Hennin) works on many different levels.
Jeremy Herrin’s production transfers to the Duke of York’s Theatre, having played at the Hampstead Theatre (running until 30 June 2018). But what have critics been making of David Hare’s play?
The frenzy of John Christie, founder-owner of Glyndebourne’s opera house – a tubby, determined man with a yearning for sublimity –receives, in this lovely play The Moderate Soprano, the respect that it should.