MARIA MARTEN STRIDES AGAIN: A WOMAN’S STORY Founding this touring company 36 years ago, Ivan Cutting swore a great oath that one local story they wouldn’t do was Maria Marten, murdered in the Red Barn by … Continue reading →
It is a joy to have Greg Doran’s RSC hosting a musical about Joan Littlewood: itself a debut by the composer Sam Kenyon creating book, music and lyrics, and with a cast full of RSC first-timers including Clare Burt as Joan herself.
MICHAEL ADAIR SHUDDERS AT THE HARD OLD PATRIARCHY… ‘These modern neurotic women, doctor. What are we going to do with them?’ says one exasperated male character to another. Here, right on time for the #MeToo generation, is a revival of … Continue reading →
Barrie Rutter and the Globe are made for each other. Fresh out of his storming leadership with Northern Broadsides, he returns here under the new regime, this time as director of a pretty ridiculous Shakespeare collaboration with John Fletcher, loosely based on Chaucer.
Twenty years ago Lady Anne Tree founded Fine Cell Work. It teaches prisoners fine needlepoint and quilting and sells it in the top shops. So the men (and some women, but most prisoners are men) can build up a modest fund for when they are freed.
With a fine-tuned cast, Rae Smith’s immense and atmospheric set and Laurie Sansom’s direction, Barney Norris’ intense personal and social observation command attention: from a dangerously slow-burn start it proves to be not only an engrossing play but quite an important one.
The theatrical repertoire has a new monster: music producer-creator-arranger Bernard, created by Joe Penhall in Mood Music and brought to scorchingly memorable, sociopathically irresistible life by Ben Chaplin. Who is wonderful. Made for the part.