Alan Bennett’s The Habit Of Art has returned to its meta-spiritual home this week, arriving at the Oxford Playhouse to amuse and entertain its erudite audience with in-jokes about the city’s gay scene and penises.
It is nine years since Nicholas Hytner’s National Theatre of The Habit of Art opened Bennett’s fascinating play: high time we had it back, and this York-led collaboration does it proud.
Matthew Kelly will star as WH Auden opposite David Yelland as Benjamin Britten in the first-ever revival of Alan Bennett’s 2009 play The Habit Of Art.
A dark new Agatha Christie adaptation has become something of a Christmas tradition, and even though the BBC only started this tradition two years ago with an excellent multi-part interpretation of And Then There Were None, it has fast become an established and much anticipated highlight of the festive schedule.
Witness for the Prosecution will extend its run on London’s South Bank until 16 September 2018. It had previously been booking until 11 March only. Tickets for the new booking period are now on sale.
This site-specific version is a bit of a gimmick, and while one part of me yearns for the play to be allowed to speak for itself, another just relishes the novelty of this revival’s setting. So what’s the verdict? Guilty of being a good night out.
What better venue to have the protagonists in this enthralling production play to the gallery? Literally. The impassioned arguments from the immaculately spoken David Yelland and his nemesis, Philip Franks, as silks Robarts and Myers, fill the room and echo down the corridors.
The first crime uncovered in Witness for the Prosecution is that this amazing space, the glorious council chamber of the LCC then GLC at County Hall has not been pressed into service for site-specific theatre more often.
Catherine Steadman, David Yelland and Jack McMullen lead the cast of Agatha Christie’s Witness for the Prosecution, staged in a courtroom setting at London’s County Hall.
Interesting that two new plays in recent weeks have referred back to Nazi Germany and indirectly to the Holocaust. Whereas Cordelia O’Neill’s fine No Place for a Woman (Theatre503) looks at relativism and the chance accidents of life that can turn one middle class woman into being on the `winning’ side, and the other, by virtue of her Jewish birth, on another, Unwin looks directly at the Nazis’ policy of eugenics.
Stephen Unwin is a name I am familiar with as a director, and in my experience he’s an incredibly talented director. His debut play, All Our Children is set in 1941 and throws a spotlight onto the true story of the cruel and senseless murders of disabled children in Nazi Germany.
Director Stephen Unwin’s gripping debut play All Our Children, which probes one of the darkest episodes in recent history, premiered this week at London’s Jermyn Street Theatre, where it continues until 3 June 2017. Production photos have been released.
David Yelland stars in All Our Children, director Stephen Unwin’s gripping debut play which probes one of the darkest episodes in recent history.