After the 75th anniversary weekend of VE Day, the musical Only The Brave drew my attention as a perfect way to spend an afternoon.
I’ve always found Antony and Cleopatra a bit of a slog. There, I’ve said it. Too many scenes which flit about all over the place, too many minor inconsequential characters, deaths which seem interminable.
A life distilled to its essentials: 30 Million Minutes indicates the rough length of time that Dawn French had been alive at the time of her solo show recorded in its final incarnation in 2016.
When DryWrite co-Artistic Director Phoebe Waller-Bridge wrote Fleabag back in 2013, it needed to be crowdfunded in order for it to be premiered at that year’s Edinburgh Festival.
The problem with staging a classic novel is that everyone has a slightly different view of how it should be done – many have tried and few have fully succeeded.
This production of Lady Windermere’s Fan is mostly a strong account of a play that will always be overshadowed by Earnest and a very pleasant way to spend a locked down afternoon.
Are you fed up with not being able to go out to the theatre? Don’t be. There’s a wealth of stuff to watch online. Here’s a handy list of current opportunities. OK, so it’s not quite the same as sharing the communal experience with others, but beggars, as they say…
In our continuing series, our editor Lisa Martland picks out some of her Top Picks from the last week of theatre (to 2 February 2020), ranging from Ian Foster’s praise of the Orange Tree Theatre’s fine revival of Lucy Prebble’s first play The Sugar Syndrome.
While I can fully imagine Persona working on film – indeed it seems to be generally hailed as a masterpiece – on stage I fear it fares less well.
A review of Ten Times Table by Alan Ayckbourn currently at Richmond Theatre . Still has resonance.
A man sitting behind a table, a man sitting on the edge of an unmade bed, two men sitting on a park bench. These are the settings in the Samuel Beckett Triple Bill currently at the tiny Jermyn Street Theatre and directed by theatre legend Trevor Nunn.
If I have understood the timeline correctly the latest incarnation of Kevin Elyot’s debut play Coming Clean is a revival of a revival.
“A meaningful play about a really important subject”. As I left the Park Theatre having watched Eugene O’Hare’s play The Weatherman, these were the sort of (overheard) comments I heard. Unfortunately, I could not altogether agree.
Amidst editor Lisa Martland’s seven Top Picks from the last week of theatre are Libby Purves’ description of her blissful time at Nicholas Hytner’s immersive production of A Midsummer Night’s Dream at the Bridge Theatre and Aleks Sierz’s thoughts on the Kiln Theatre’s new opening, Samuel Adamson’s take on A Doll’s House in Wife.
A revival of the play Brexit at the King’s Head Theatre, Islington is very much of the moment and stirs some classic sitcom memories.
Last night I found myself both onstage and in the audience at the same time – neat trick if you can do it and I have done… on more than one occasion.
Rob Ellis directs Ollie George Clark’s new play called Cuttings at London’s Hope Theatre which examines the hitherto unexplored backstage world of theatrical PR – a world that has become increasingly important with the rise of online social media.
Inevitably writers will gravitate to the world they most often inhabit and about which they can speak with a degree of authority whether that be professionally, publically or privately.
It shouldn’t have surprised me (as a local) that I had never heard the Norfolk folktale of John Chapman, the dreaming pedlar who found a fortune buried in his garden and used it generously to restore his beloved town of Swaffham.