Is God female? It says a lot about Yaël Farber’s pompous and overblown new version of this biblical tale at the National Theatre that, near the end of an almighty 110-minute extravaganza, all reason seemed to have vacated my brain, and its empty halls, battered by a frenzy of elevated music, heaven-sent lighting and wildly gesturing actors, were suddenly open to the oddest ideas.
Set in rural County Armagh, Northern Ireland, in August 1981, the play takes place in the Carney home. This is a farming family, who grow cereals for export, and the head of the household is Quinn Carney (Considine), a former IRA man.
The Treatment has often been ignored, perhaps on account of its large cast, or because of its large scale. Now that the Almeida Theatre has decided to stage this story of how art cannibalises life we have the chance to judge its relevance some 25 years after its premiere.
In Filthy Business, a comic epic, playwright Ryan Craig travels back in time to explore the poisonous and reptilian atmosphere of the Solomon family, the owners of a retail rubber business in North East London. As the title punningly suggests, a family working with rubber is prone to both physical dirtiness and moral corruption.
Set in Dubai, the glowing capital city of the United Arab Emirates, it tells two parallel stories: one is the conflict between two English twentysomethings, Jamie and Clara, who travel to the Gulf for opposite reasons.
New play about Africa’s deadliest conflict is more of a heroic failure than a successful drama.
Random and topical thoughts and quotes gathered by My Theatre Mates contributor Aleks Sierz, first published on www.sierz.co.uk.
Simon McBurney journeys up the Amazon into the heart of darkness and and finds light and enlightenment.
Peter Brook revisits The Mahabharata with more philosophy than politics, and with a perfection that ultimately feels chilly.