In our continuing series, our editor Lisa Martland picks out some of her Top Picks from the last week of theatre including Ben Dowell (for theatreCat) giving his verdict on the much-anticipated arrival of Dear Evan Hansen at the Noel Coward Theatre.
Land Without Dreams at the Gate Theatre is a surreal, existential meta ‘drama’ created by Danish company Fix & Foxy.
Land Without Dreams may be difficult, irritating, sometimes alarmingly ‘obvious’ but they also manage to dig further into what it is to be human, coming at us as it were from left-field.
Random and topical thoughts and quotes gathered by My Theatre Mates contributor Aleks Sierz, first published on www.sierz.co.uk.
In our continuing series, our editor Lisa Martland picks out some of her Top Picks from the last week of theatre (to 20 October 2019), ranging from Olivia Mitchell’s thigh-slapping joy on seeing Noises Off to Libby Purves’ plea that we listen to the story being told in [Blank] at the Donmar Warehouse.
Mephisto [A Rhapsody], a French meta-theatrical update of Klaus Mann’s classic novel, has some brilliant moments but lacks metaphorical force.
Combined with the big questions it raises on compromising one’s beliefs, Mephisto [A Rhapsody] confronts classism, racism and lack of political action in the UK today, both in the arts and within the privileged but apathetic public.
Gate Theatre artistic director Ellen McDougall has announced the 40th anniversary season for west London’s Gate Theatre, comprising six new productions – four world premieres, two UK premieres – and a new “Manifesto for Our Future”.
Christopher Haydon, the former artistic director of the Gate Theatre in London, has written the book About The Art of the Artistic Director.
Growing global discontent has been the hallmark of 2018, and 2019 is looking even worse. The last few years have marked a rise of the far-right, but theatremakers in opposition are letting audiences know it from the stage. Some of the best shows of this year show anger, fear, uncertainty or simply let the world know that enough is enough – it’s time for a fairer, more peaceful society that pays homage to all of its people.
The Gate Theatre has announced its next production, Dear Elizabeth, a two-hander by award-winning US playwright Sarah Ruhl, directed by Ellen McDougall. The piece, running at the venue from 17 January to 9 February 2019 (press nights are 22 and 23 January 2019), will be performed by a series of guest actors including Travis Alabanza, Jade Anouka, Tim Crouch, Tamsin Greig and Alex Jennings.
Jamaica Kincaid’s A Small Place is being staged for the first time at London’s Gate Theatre. It may be difficult to know what to expect from an acclaimed non-fiction book being brought to the stage, so get a feel for the four-star show with footage of extracts performed by stars Cherelle Skeete & Nicola Alexis
The Gate Theatre’s staging of Jamaica Kincaid’s anger-filled essay on Antigua, A Small Place, is drawing audiences and critics to Notting Hill. With four-star reviews and assertions that the piece is “delightfully surprising”, “brilliantly poetic” and “urgent”, it’s easy to see why.
Audiences are raving about the Gate Theatre’s production of A Small Place, as the Notting Hill venue brings Jamaica Kincaid’s book to the stage for the first time. Check out the Twitter buzz, then get a flavour for the show with Helen Murray’s production shots
For the first time ever, Jamaica Kincaid’s acclaimed book about Antigua and its exploitation by the West, A Small Place, is brought to the stage at the Gate Theatre this month. Starring Cherrelle Skeete and Nicola Alexis, the premiere production runs from 8 November to 1 December 2018.
The Gate Theatre’s artistic director Ellen McDougall has announced her second season at the Notting Hill venue with highlights including a new translation of Jean Cocteau’s The Human Voice by Daniel Raggett who also directs, and A Small Place, adapted from the book by Jamaica Kincaid and directed by Anna Himali Howard.
What an achievement Effigies of Wickedness is. I adored it. It lifted me, and it broke me. It’s a godsend, a wondrous co-production between the Gate and the English National Opera.
In Trust, the attack on capitalist structures that have ruined the lives and livelihoods of an entire generation is sharp and well-staged, with striking imagery and conflict that lingers to powerful effect.
Structurally playful (the way captions are introduced for each chapter is ingenious) but thematically consistent (the world is going to shit, no really THE WORLD IS GOING TO SHIT), there’s no doubting that Trust is formally exacting.
Continental drama, in this era of Brexit negotiations, seems to be rarer and rarer on British stages. But, luckily, there are some venues which buck this parochial trend.
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