Maybe in a far-off dimension of time and space, at the crossroads of imagination and reality, our descendants will discover a stage adaption of The Twilight Zone which will fill them with the wonder and mystery of the original. But not here.
David Mamet’s obscenity-strewn script won a Pulitzer Prize in its day and it is easy to see why. Amidst the coarse language, this tale of desperate real estate agents is a testosterone-filled blast from the past.
Kelsey Grammer brings gravitas and empathy to this largely bed-bound role. His decent singing voice does its best to wrest emotion from Edward’s gruff Southern accent but on boisterous songs like Red, White And True, it veers between baritone and barking seal.
In a swanky London theatre probably more suited to an M&S crowd, Venus In Fur seems an odd choice for a plot which evocatively explores the very origins of S&M.
A starry home team enthusiastically play up the comedy. Sarah Tynan is one of ENO’s most technically perfect sopranos but she’s also their wittiest actress and her Rosina is effortlessly sung and enjoyably mettlesome.
Are there laughs after death? Award-winning playwright and librettist Stephen Clark’s comedy-drama Le Grand Mort makes its world debut almost a year after the celebrated writer died and serves as a posthumous poser to what could have been had Clark not shuffled off the mortal coil at the age of 55.
With sci-fi themes interspersing this erotic show, it’s a surprise that Briefs’ Close Encounters wasn’t titled The Big Bang. The all-male Australian troupe return to London with their first show in, oh, forever.
Benjamin Rubin (F Murray Abraham) wrote his one hit play decades ago at the age of 24 and has not tasted success again. He is asked (and paid handsomely) by an art foundation to mentor up-and-coming writer Martin Wegner (Daniel Weyman).
If there’s a theme to the events of the past year – particularly the incidents in Westminster, Manchester, London Bridge, Grenfell Tower and Finsbury Park Mosque, but also the potential results of the Brexit referendum and Donald Trump’s ascendancy – “terror” may well be it.
At one point in The Kite Runner, taxi driver Farid says “I don’t think there is a more Afghan way to die than stepping on a mine.” Or, indeed, live. The role may be one of the smallest but these are the words which perfectly express how pinioned all the play’s characters are by their circumstances, be it their race, their wealth, their gender or their location.
Sir John Betjeman: now, there was a poet. In Hugh Whitemore’s Sand In The Sandwiches, we get a soup-to-nuts understanding of the Poet Laureate who was more than the simple versifier that title suggests.
No sooner does Edward Albee die, than two of his most famous works hit the London stage: Who’s Afraid Of Virginia Woolf opened last month while The Goat, Or Who Is Sylvia followed this week. Aspiring playwrights should not read too much into this.
Salome takes place in an altogether different age and the archaic language and prosaic story arc reflect this. The title character is both victim and victimiser, and Wilde plays strongly on the young woman’s hypersexualisation in the eyes of her stepfather Herod and his followers.
The Glass Menagerie ★★★★ Review by Franco Milazzo Its taken her a lifetime but finally the American stage and TV actress Cherry Jones has finally made it to London in an inspirational revival of The Glass Menagerie. Jones may be more familiar to British audiences through TV shows like 24 and Black Mirror but in […]
“One of the key problems today is that politics is such a disgrace, good people don’t go into government.” Those are the words of Donald Trump and, frankly, there will be a lot of people agreeing with him especially after his recent victory in the US. It hasn’t always been this way, though.
If Waiting For Godot is the last word in the absurdity of the human condition, this play is its hilarious epilogue. Starring The Fast Show’s Simon Day, Dave Hanson’s Waiting For Waiting For Godot is as deep as the work it riffs off while never losing sight of its two main characters.