Brian Friel’s Translations is a rich and complex play and, in Ian Rickson’s production which returns for a second run in the Olivier, its layers are drawn out through the performances of a high class ensemble ensemble.
Sonia Friedman Productions has announced Conor McPherson’s new adaptation of Anton Chekhov’s Uncle Vanya directed by Ian Rickson which will run at the Harold Pinter Theatre from 14 January 2020 with opening night on 23 January 2020.
The National Theatre has announces 15 productions of new plays and fresh adaptations by leading writers. Olivier Theatre My Brilliant Friend 12 November 2019 to 18 January 2020 (Press day is 26 November). Plays in rep, with further performances to be announced Following a sell-out run at Rose Theatre Kingston, the two-part adaptation of Elena Ferrante’s My Brilliant Friend by April De Angelis is reworked …
Written in 1886, Henrik Ibsen’s play Rosmersholm has a new-found poignancy in today’s political climate.
It could all go horribly wrong but Ian Rickson’s production of Rosmersholm in Duncan Macmillan’s new adaptation brings Ibsen’s dense moral and political tragedy safely into port.
Love London Love Culture rounds up the reviews for Rosmersholm at Duke of York’s Theatre, a new adaptation of Ibsen’s play.
Most importantly Ian Rickson’s gripping production of Rosmersholm suggests that great female roles are to be found among the classics if only we look hard enough.
Highlights of the next new season at London’s National Theatre, running from May to October 2019, include several new productions and new broadcasts and outdoor activity announced to celebrate NT Live’s 10th birthday.
Giles Terera, Lucy Briers, Jake Fairbrother and Peter Wight have been cast alongside Tom Burke and Hayley Atwell in Henrik Ibsen’s Rosmersholm, adapted by Duncan Macmillan and directed by Ian Rickson, playing at the Duke of York’s Theatre from 24 April to 20 July 2019.
Tom Burke and Hayley Atwell will star as John Rosmer and Rebecca West in Ian Rickson’s new production of Rosmersholm, Ibsen’s classic study of a country in political flux, in a new adaptation by Duncan Macmillan. Further casting will be announced soon.
So there’s a real feeling of anticipation about this revival of his 1980 drama, Translations, a major play which has enjoyed an enormously good international reputation since its first staging at the Guildhall in Derry, Northern Ireland.
Translations, Brian Friel’s account of nationhood as seen through the eyes of those living in a small village is now playing at the National Theatre, starring Colin Morgan and Ciarán Hinds. Here’s what critics have been saying about it…
It is rare to find a show so good-natured and yet ominous and academic, all at the same time. Come for the raucous humour, stay for the dramatic, dirty colonialism and the lesson in the pros and cons of multilingualism. Translations is beautiful and daring, go see it.
It was time the Oliviers had an inspiring success again, and Translations is it. It ought to run longer. It ought to be in cinemas and touring.
As Ireland moves into a new era, Brian Friel’s play remains at the heart of debate – how can a country maintain its essence while embracing the modern world?
This is a stylish, yet thoroughly accessible, production that is full of energy and a joyous satirical thrust that never obscures the real human emotions at the story’s core. Let’s hope that this production is the first of many Restoration revivals.
Ian Rickson’s excellent production at the Harold Pinter Theatre demonstrates, without a shadow of a doubt, why The Birthday Party deserves its classic status.
But this starry revival of The Birthday Party which has just opened at – where else? – the Harold Pinter Theatre – is immensely enjoyable – even if you occasionally lose the plot.
With its episode of a game of blind man’s bluff being both very funny and rather horrible, this is a Birthday Party for a generation brought up on The League of Gentlemen.
Ian Rickson’s production is a tense and unnerving experience that utilises all the skills of its excellent cast to reinforce the oddity of one of Pinter’s most performed plays.
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