Covering both contemporary experience and historical background, debbie tucker green’s Ear for Eye at the Royal Court feels like an instant classic. But it’s not an easy watch.
Ear for eye, Debbie Tucker Green’s new play for the Royal Court, is ferocious and uncompromising and challenging and quite often breath-taking.
Polly Stenham has updated August Strindberg’s 1888 play Miss Julie to contemporary London. Why? Well, it would be foolish to think that this new version is modern only because of its language, setting and clothes.
Julie may well be far from a definitive interpretation of Strindberg’s classic, but nonetheless makes for an evening of thought-provoking theatre.
An elegant and occasionally startling adaptation, Julie at the National Theatre is anchored by mesmerising performances from Vanessa Kirby and Thalissa Teixeira.
Sigh. Ok, this is going to hurt because I’m such a supporter of women creatives and want to fight for more opportunities for them but Julie is awful.
Polly Stenham joins the endless line of adaptors and updaters of August Strindberg’s toughly nasty, misogynistic Miss Julie: a play soaked in such fin-de-siecle Nordic hopelessness that it makes Ibsen look like PG Wodehouse.
While Polly Stenham retains plenty of Strindberg’s purpose, Julie doesn’t go quite far enough in remoulding the political and psychological shape of its characters for the 21st century.
Casting has been announced for the new National Theatre season, with highlights include Colin Morgan and Ciarán Hinds in Brian Friel’s Translations.
There’s much to enjoy in One Love: The Bob Marley Musical, not least the joyous celebration of some of the most enduringly famous music in the world. And writer and director Kwame Kwei-Armah does a decent job at balancing the populist demands of a jukebox musical with something more dramatically satisfying.