Amy Berryman’s ambitious debut play Walden about siblings, climate change and space travel is full of ideas, but what happened to the emotions?
If the West End has faced an existential crisis thanks to the pandemic, American playwright Amy Berryman’s debut play Walden portrays the entire world having one.
Amy Berryman’s Walden at the Harold Pinter Theatre is 90 minutes of proper stimulus, at times intensely moving, still haunting.
I really wanted to like Walden, it was my first trip to the theatre since they were last open in early December, but it just didn’t deliver the promised tension and drama.
RE:EMERGE, a collection of new plays curated by Sonia Friedman Productions alongside Ian Rickson (artistic director for the season), is due to open to socially-distanced audiences from May at London’s Harold Pinter Theatre.
Life as it is currently lived in 14 playlets: Most of the plays are about ten minutes in duration and punch well above their weight featuring writing by the likes of James Graham and April de Angelis.
Ever behind the curve, I present 10 of my top moments in a theatre over the last ten years (plus a few bonus extra ones because whittling down this list was hard, and it will probably be different tomorrow anyway!).
In addition to lists of top productions, Mates contributor Ian Foster reviews his reviews from the past year to award his personal prizes for the best performances for Best Actor and Best Actress, Best Supporting Actor and Best Supporting Actress in both plays and musicals…
Ahead of rounding up various publications #theatre2016 highlights, I’m taking a moment to reflect on my own theatregoing year and my favourite plays, musicals, performances and other events.
Gemma Arterton stars in Josie Rourke’s modern take on the spiritual soldier’s rise to fame and tragedy. But what do critics think of the Donmar Warehouse’s production? The Guardian: *** “Although this production is worth seeing for Arterton, Shaw’s play […]
Modern-dress revival of wordy George Bernard Shaw classic is a tour de force for Gemma Arterton.
Through the trial and its aftermath, the production soars, mainly on the strength of Arterton’s superlative performance. A woman alone, literally so in this all-male company.
For fifteen minutes as the audience troops in Gemma Arterton, in chainmail and breastplate, kneels on a dais in rapt contemplation: mouthing prayers, prostrating herself before the Cross, offering up her sword, sober and serious.
The full cast for Josie Rourke’s upcoming Donmar production of Saint Joan, which will run at the theatre from 9 December 2016.
Donmar Warehouse Artistic Director Josie Rourke and Executive Producer Kate Pakenham announce today a new autumn season of plays in Covent Garden to run alongside the Donmar Shakespeare Trilogy at King’s Cross. Kwame Kwei-Armah returns to the London stage to direct the UK premiere of One Night in Miami…, followed by Bernard Shaw’s Saint Joan, starring Gemma Arterton and directed by Rourke.
The night after opening in the West End, Daniel Evans Sheffield Crucible production of Show Boat shoots straight into the top slot of Mark Shenton’s regularly updated list of top ten ticket recommendations. What are the other risers and fallers. Follow links to book tickets.
In this theatre diary catch-up, I want to concentrate on five top plays – four of them which also make Mark Shenton’s Top Ten list and three of them led from the front by stunning female performances and also Olivier laden.
New entries this week in Mark Shenton’s Top Ten recommendations are Les Blancs at the National and How the Other Half Loves in the West End. Get tickets for all ten shows here.
After re-visiting The Book of Mormon, it makes it into this week’s Top Ten; so does People, Places and Things, newly transferred from the National to the West End. Plus, this week’s openings and other recommendations.
After three one-star shows in a row last week, there’s a guaranteed hit opening this week when People, Places and Things transfers from the National.
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