Word of mouth on Sally Rogers’ debut play The Still Room is spreading fast, with celebrity fans including Alison Steadman, David Morrissey, Maxine Peake, Johnny Flynn and others. Check out these video vox pops and get booking!
With director Stanley Kramer’s making of the groundbreaking film Guess Who’s Coming to Dinner as its subject matter, Tracy-Ann Oberman and David Spicer’s new radio drama has a compelling contemporary relevance.
Originally written for television in 1964, this particular Tom Stoppard production has been performed to raise money for stage technicians and creatives along with supporting The Felix Project food charity.
The Harry Potter team presents a hyped up state-of-the-family play in The End Of History and it just falls flat on its face.
What’s so great about Jack Thorne’s play The End of History (as well as his consistently interesting use of stage directions) is that it has made me pause to think but is all wrapped up in this absorbing family comedy.
Jack Thorne and director John Tiffany are the Harry Potter team. They know how not to bore. But they’ve been here before too in a Royal Court state-of-the-nation mood, and they can make pieces like The End of History just as gripping.
In The End of History Thorne shuffles various perspectives within the family, examining their different experiences of the same events from multiple angles, and while these differences drive wedges between them, ultimately and with hope for the future, he explores the ties that keep people together.
David Morrissey and Lesley Sharp will play husband and wife in the world premiere of Jack Thorne’s new play the end of history…, directed by Royal Court Theatre associate director John Tiffany.
Normally I do two of these – Top Ten Shows and Top Ten Performances – but this year I’m combining the two – plus some sundry other awards.
For Julius Caesar at the Bridge Theatre, Hytner has taken out the stalls seats of the new Bridge Theatre and created a promenade performance which begins, like a Trump rally, with a warm-up. It’s one of the best pre-shows I’ve ever seen.
From its rock fest opening to its fast and furious battle finale, Nicholas Hytner’s modern-dress Julius Caesar packs a powerful punch.
If Nicholas Hytner’s concept for Julius Caesar at the Bridge Theatre was applied with as much thought and skill as the staging, this would be a truly fantastic production.
Julius Caesar really isn’t Shakespeare’s best play, there’s very little poetry in the lines and after the assassination, the plot’s far from clear, but this production makes it accessible.
So would I go to more Shakespeare after this experience seeing Julius Caesar,? Yes, I would. More importantly, could I see myself as a regular visitor to the Bridge Theatre? That has to be an emphatic yes.
There is no option of falling asleep because if you aren’t being shoved around as if on a rush hour tube then gunfire is constantly going off. Being in the pit is an intensely exciting and quite emotional experience.
Surrounded by those with seated tickets and lorded over by scene after scene of masterclasses in the craft, the cheap seats in the pit for Julius Caesar at the Bridge Theatre are without doubt the best.
It is rarely a play that moves you and so it is here, even though Nicholas Hytner’s production of Julius Caesar at the Bridge Theatre, London does provide moments of intellectual stimulus.
Julius Caesar at the Bridge Theatre is a visceral and dynamic take on the classic Shakespearean political thriller with star performances and innovative staging.
In Julius Caesar at the Bridge Theatre Nicholas Hytner has pointed up the current parallels – populism, fake news, regime changes – and gleefully refashioned his new theatre to allow some 200 of us, on foot in the pit, to represent the Roman mob.
Nicholas Hytner’s production of Julius Caesar at the Bridge Theatre is nothing short of a Roman triumph, capturing the wonderful lyricism of Shakespeare’s writing, in what are some of his most beautiful speeches, with an urgency of action that means two hours just races by.
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