Taking inspiration from the 100th anniversary of the Russian Revolution, HOME Manchester present Andrew Upton’s beautifully touching translation of Anton Chekov’s Uncle Vanya.
Sharp and comic timing is needed to really make this Alan Ayckbourn play really work – thankfully, the cast keep things moving with great pace and energy.
With constant depressing news in the wider world, theatre news offers a respite. Recent news to celebrate includes Mark Rylance’s West End return, the London premiere of Owen McCafferty’s Unfaithful, Samuel Beckett tribute No’s Knife and more…
Stephanie Beacham stars as the late Princess Margaret in the world premiere of Richard Stirling’s A Princess Undone, which opens at the Cambridge Arts Theatre on 19 to 22 October 2016, ahead of a short tour. Jason Merrells co-stars.
Bill Kenwright’s West End production of Alan Ayckbourn’s farcical tale of matrimonial mishaps How The Other Half Loves is moving house. The comedy, which has enjoyed huge public and critical acclaim since it opened in March, will extend its West End run, transferring from the Theatre Royal Haymarket to the Duke of York’s from 7 July – 1 October 2016.
Written before he had become one of the nation’s most prolific playwrights, yet as ever focusing upon his hallmark theme of domestic dysfunctionality, How The Other Half Loves is Alan Ayckbourn’s 1969 effort, viewed through the prism of well-performed comedy.
Alan Ayckbourn’s 1069 tale of matrimonial mishaps is back in London for its first major West End revival. But what have the critics made of it? How the Other Half Loves continues until 25 June 2016 at the Theatre Royal Haymarket.
We’re back in the 1960’s, and how! Beyond the jolly geometric curtain a bygone world revives. Shiny pink plastic boots, a ridiculous frilled sub-Laura-Ashley print dinner frock. Nicholas le Prevost doing breathless “Swedish jerks” before setting out for work with bowler and brolly, and coming home to prod suspiciously at an avocado pear, while entertaining a shy colleague for the sake of old-fashioned departmental teamwork.
Post-show Q&A: What’s the essence of good comedy? And what marks out an Alan Ayckbourn comedy in particular? What does the UK’s most prolific, produced playwright (80 plays and counting) demand of actors and directors? And, despite the (often onerous, occasionally near-impossible) demands, why do actors and directors relish coming back for more?