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.
Javaad Alipoor explores the dark world of lonely young men, seething with resentment, attracted by tech-savvy extremist groups, in The Believers Are But Brothers at the Bush Theatre.
From its haunting title, to its moments of explosive dialogue, this is a modern classic, which when it was first staged won Mamet the Pulitzer Prize. Set in Chicago, it shows a group of slick hustlers who have to sell tracts of indifferent Florida real estate.
While not Political Plays per se, over the past fortnight, I’ve seen several productions that have reminded me that theatre can play an important part in telling stories of resistance.
Many on the panel, and in the audience, also shared personal stories as immigrants and/or children of immigrants – and how they felt affected by Powell’s speech and its aftermath.
It’s not just umbrella festival programmes that keep myself and other London theatregoers busy in August. Here are some thoughts (and connections) on the other plays and musicals I’ve seen over the past week that are worth a look: Mrs Orwell, King Cowboy Rufus Rules the Universe, Boom and Salad Days.
New play about participation and democracy is entertaining enough, but a bit too tricksy and too so-what-ish?
The 1960s were “hilarious”, says one young character in this revival, starring Broadway icon Stockard Channing, of Alexi Kaye Campbell’s 2009 family drama at the Trafalgar Studios. How so? “Oh you know, the clothes, the hair, the raging idealism.”
Two highly political plays based on real-life world affairs will come to the West End this year from New York, via the National Theatre. Later this month, for one night only, there’s a staged reading of All the President’s Men?, Nicolas Kent‘s edited transcripts from the Senate confirmation hearings for President Trump’s (highly controversial) Cabinet. And in the autumn, JT …
What would Bertolt Brecht have made of Donald Trump? Brecht’s “epic theatre” was sparked by the rise of Nazism in 1930s Germany. Many pundits have likened the political period we’ve now entered with that dark decade of the twentieth century.
Updating the classics is not without its pitfalls. How can a modern audience, which has a completely different set of religious beliefs, relate to a 17th-century morality tale in which the lead character behaves badly, and I mean really badly, but gets his comeuppance by being roasted in hell fire?
Anyone Can Whistle: the Sondheim flop whose signal moment in the original 1964 production was when a dancer fell into the orchestra pit, inadvertently killing a musician.
As someone who makes a living championing theatre, one of the things that really delights me about the grass-roots activism sprouting up all around me in our increasingly illiberal age of Trump and Brexit is how much of it is being driven by theatre colleagues.
The company of The Kite Runner have started a nightly curtain-call ritual, reading out a response to US President Donald Trump’s executive order this past week banning Syrian refugees as well as all immigrants from seven predominantly Muslim countries from entering the United States. Worth watching and sharing.
Now in their 28th year, the annual Critics’ Circle Theatre Awards take place tomorrow (Tuesday 31 January 2017) at the West End’s Prince of Wales Theatre. The Awards, founded in 1989, are run by the Drama Section of The Critics’ Circle, which has existed since 1913 to protect and promote cultural criticism in the UK. Tomorrow’s ceremony is hosted by Drama …
A day or so after Theresa May’s keynote speech about Brexit the words Europe and European carry an electric charge. For Leavers, they represent the evil empire; for Remainers, a world we have lost. In this context, seeing a play by Germany’s most performed playwright feels more than usually significant.
Hassan Abdulrazzak, Caryl Churchill, Neil LaBute and Roy Williams are among the writers in TOP TRUMPS, a Theatre503 festival responding to Donald Trump’s election and his inauguration as US President, which also includes a panel discussion chaired by Mates co-founder Terri Paddock.
By guest critic Rebecca Nice, @rebeccajsnice In Stuck, four women alternate telling a story, reciting a monologue or presenting a speech. The work is loaded with satire that directly critiques the current political climate and societal struggles of sexism, patriarchy, immigration and oppression. Tamara Astor, Sophie Crawford, Lula Mebrahtuand Deli Segal are far from stuck; they are navigating a series of continual journeys. Although the […]
What does Sam Shepard’s 1978 play Buried Child have to tell us about America after the presidential election of Donald Trump? The West End transfer of the New Group’s production, first seen in New York this past February, was announced in September, when the likelihood of a Trump presidency was still being dismissed by most pundits.
As it’s the first of the month, we’re taking a brief moment to remind ourselves of the most popular contributions from our 20+ syndicate Mates bloggers from the month just closed. What were the reviews and other blogs that got readers clicking most? Any surprises?