I’m the last person on earth to utilise a football metaphor, but the recent Pinter at the Pinter press day (showcasing the first two of six productions of the prolific playwright’s one-act plays) is very much a game of two halves.
Impeccably acted and insightfully staged, Pinter Two a most effective double bill and a promising start to a season I may yet fall for more completely.
David Suchet, image copyright Marc Brenner The Lover / The Collection by Harold Pinter – Pinter Theatre, London Both these plays, part of Jamie Lloyd’s ingenious idea for a complete season of Harold Pinter’s short works, are from the early 1960s. Nearly 60 years later any normal playwright’s work would be showing its age, but … Continue reading The Lover / The Collection
The Collection (and The Lover) still feel incredibly modern in their case-study observations on infidelity and subterfuge, even though none of the indiscretions seem particularly radical by today’s standards.
Pinter Two is a complete change of tone from its companion collection, moving from social politics to more familiar Pinter territory, relationship politics.
Further all-star casting has been announced for Jamie Lloyd Company’s Pinter at the Pinter, an unparalleled event featuring all twenty short plays written by Harold Pinter in the West End theatre that bears his name.
There’s certainly the attempt to raise the temperature – Andrews has his leads Jack O’Connell and Sienna Miller in various states of undress for large swathes of the play – but for all the skin exposed, there’s little sexuality between Tennessee Williams’ central couple.
Lisa Palfrey will play Big Mama alongside Sienna Miller, Jack O’Connell and, as Big Daddy, Colm Meaney in Benedict Andrews Young Vic West End production of Cat on a Hot Tin Roof.
Pairing director Jamie Lloyd with writer Philip Ridley seems almost guaranteed to produce a hit – a vibrant director that appeals to a youthful, diverse audience and a writer who found fame in the 1990s for pioneering vulgar, shocking and unapologetic plays.
Jamie Lloyd tackles Philip Ridley’s 1991 modern classic — with terrifically immersive results.
Today Shoreditch Town Hall announces an immersive double-bill of Philip Ridley plays, including the world première of Killer and a new production of Ridley’s contemporary classic The Pitchfork Disney, his first stage play which premièred in 1991. The productions will both be directed by Jamie Lloyd and run in ‘The Ditch’ basement spaces of Shoreditch Town Hall in spring 2017. …