Tom Morris’ production of Touching the Void will open in the West End at the Duke of York’s Theatre, previewing from 9 November 2019 for a strictly limited season with an opening night of 14 November.
Rebecca Frecknall’s production of Summer & Smoke with its chorus of pianos fits as snugly into the Duke of York’s as it must have done at the Almeida.
Summer & Smoke, the latest Almeida Theatre West End transfer, is the first thing I’ve experienced in a while where the theatre audience is really, properly engaged in a play. It’s like you could literally hear a pin drop.
All hail the queens. Following a critically acclaimed, sold-out season at the Almeida in 2016-17, Robert Icke’s new adaptation of Schiller’s Mary Stuart transfers to the West End’s Duke of York’s Theatre in January. TICKETS ARE NOW ON SALE VIA MATES.
With three Olivier Nominations just announced, Florian Zeller’s modern French masterpiece The Father and its remarkable insight into the effects of Alzheimer’s Disease makes a four-week return to the West End. Translated by Christopher Hampton, himself unrivalled in capturing the nuances of French prose for an English audience, this one-act journey thrusts us into the world of the ageing André, whose mind has succumbed to the ravages of the disease.
This is a play I know extremely well. My own production (“one of the best the Nuffield Theatre has housed” – Guardian) formed part of my Theatre Studies degree at Lancaster in 1973, the year Noel Coward died. I have seen every major revival, and some dodgy tours, from the splendid Michael Denison and Dulcie Gray version which first inspired me as a teenager at the Grand Theatre Leeds, to glossy London and Chichester productions with Dame Judi, Maria Aitken, Penelope Keith, Geraldine McEwan and Diana Rigg. And the awful one with Lindsay Duncan strutting about in jodhpurs.