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.
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.