It is stuffed dogs, ladders and individual performances in Endgame which stay with me rather than anything more philosophical about the human condition.
A star cast led by Daniel Radcliffe, Alan Cumming and Jane Horrocks make light work of the Beckett classic Endgame.
Much is to be taken from the strangeness of the settings and fine characterful performances in Endgame and Rough For Theatre II which should please Beckett fans and providing plenty of thoughtful material for the journey home.
Jane Horrocks and Karl Johnson will join, as previously announced, Alan Cumming and Daniel Radcliffe in the Old Vic’s forthcoming revival of Samuel Beckett’s 1957 classic Endgame.
There are no balloons or party poppers but a good time is guaranteed with Party Time and Celebration, a standout Pinter Six from the consistently strong Pinter at the Pinter season in London’s West End.
Pinter Five sees Patrick Marber, someone who could call Harold Pinter a friend and colleague, take the directorial wheel as he presents a triple-bill of The Room, Victoria Station and Family Voices, delving further into the wealth of short plays left behind by the playwright.
The collective works that make-up Pinter 5 feel as insightful and meaningful as any of the Pinter at the Pinter anthologies that have come before.
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.
Keith Allen, Phil Davis, Paapa Essiedu, Rupert Graves, Gary Kemp, John Simm and Maggie Steed have joined the extraordinary company of Pinter at the Pinter, the unprecedented season featuring all 20 of Harold Pinter’s one-act plays, running from September 2018 to February 2019, to mark the tenth anniversary of the Nobel Prize winner’s death.
A wonderfully warm hug of a show, perfectly produced and performed – and you know you’re gonna be humming the tunes all the way out of the theatre.
Pinter at the Pinter, a unique event presented by the Jamie Lloyd Company, featuring all 20 one-act plays written by the great British playwright, will be performed in the theatre that bears his name from 6 September 2018 to 23 February 2019.
I have a love for shows with shiny, sparkly packaging that, underneath this tinsel, have a web of big issues and questions. Instructions for Correct Assembly is just that type of play.
The result in Instructions for Correct Assembly at the Royal Court may be that we’re not as moved as we feel we ought to be, though there’s much dark wit here. Maybe we’re the problem.
In what has been a slightly over-earnest Winter season for the Royal Court, Instructions for Correct Assembly is their best show since Anatomy of a Suicide last summer, and both use a family structure as the basis for explaining the long-term effects of grief and loss.
The trouble with Instructions for Correct Assembly is that for a drama which depends on the contrast between humanoid robots and real flesh and blood, there are no sympathetic human beings.
Instructions For Correct Assembly is a profoundly compassionate, intelligent, heartbreaking play: about parenthood and grief, self-delusion, and the commodification and competitiveness surrounding the idea of an ideal family.
Jane Horrocks will feature in the world premiere of Instructions for Correct Assembly by Verity Bargate Award winner Thomas Eccleshare, which runs at the Royal Court Jerwood Theatre Downstairs from 7 April to 19 May 2018.
This is a difficult one. I really like Annie Get Your Gun but the 1946 original was butchered in 1999 for a US revival with Bernadette Peters and most references to ‘Injuns’ excised to suit PC sensibilities, losing a couple of good songs.
Manchester International Festival has today announced John McGrath’s inaugural programme for the 2017 event, which runs Thursday 29 June to Sunday 16 July 2017.
I suppose what I’m driving at is that having swerved from the stage into a political career, my concern was how easily could she take up acting again? The astonishing thing about King Lear is that the answer is seamlessly: with power, and clarity, and complete command of the stage. Given how much acting has changed since 1980, this is astonishing and she deserves to be seen.
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