A star danced, and under it was Simon Godwin’s joyful, 1930s Riviera production born. Quite apart from the fact that it is nice to have the earnest NT enjoying two outbreaks of frenetic jitterbug dancing at once – Jack Absolute upstairs at the Olivier, and here Much Ado About Nothing set in the Mediterranean hotel world of Noel Coward – where it feats with unexpected neatness.
Simon Godwin’s new production of Much Ado About Nothing for the National initially seems to be going for the full-on romantic escapism, from the bougainvillea and sun-kissed (Amalfi?) coast of the front curtain to the gorgeous Art Deco-meets-Italianate Palazzo mixture of colour and elegance of Anna Fleischle’s hotel setting
WHAT IF IF ONLY – how many times must that have been said of a best beloved who has died. If only I had, what if this or that hadn’t happened?
The culmination of Jamie Lloyd’s Pinter at the Pinter season, which has been a triumph, is two short plays from very early in Harold Pinter’s career both of which he directs. Not has only the production of all Pinter’s short plays proved that there is a large, enthusiastic audience for apparently difficult and oblique drama; it has also made the case that Pinter’s short drama, comparatively overlooked, should be judged on a level with his full-length plays. They include some of his best writing.
Pinter at the Pinter reaches its climax with Pinter Seven featuring an enigmatic and occasionally baffling radio play, A Slight Ache, and a real highlight in an already remarkable season, The Dumb Waiter.https://mytheatremates.entstix.com/tickets/dumb-waiter-slight-ache
What a difference a few months can make; when the Jamie Lloyd Company first announced its Pinter at the Pinter season finale show back in May (before Betrayal was added to the programme), the news that Danny Dyer would star alongside Martin Freeman raised a few eyebrows.
The esteemed company of Pinter at the Pinter is joined by Bríd Brennan, Janie Dee, Tom Edden, Abbie Finn, Robert Glenister, Isis Hainsworth, John Heffernan, Katherine Kingsley, Eleanor Matsuura, Peter Polycarpou, Dwane Walcott and Al Weaver.
The National Theatre’s current production of Saint George and the Dragon is a modern and ambitious twist on the traditional folk tale of Saint George the dragon-slayer. Described as “a folk tale for an uneasy nation” this production time travels from the medieval times all the way to the current day.
John Heffernan stars in Rory Mullarkey’s new play Saint George and the Dragon, which is directed by Lyndsey Turner and now running at the National’s Olivier Theatre until 2 December 2017. Here’s what critics have been saying about it.
John Heffernan takes the title role in the premiere of Rory Mullarky’s new play Saint George & the Dragon, directed by Lyndsey Turner and running 4 October to 2 December 2017 at the National’s Olivier Theatre. Full casting for has been announced.
Directed by Carrie Cracknell and Lucy Guerin, this production – starring John Heffernan and Anna Maxwell Martin – is startlingly different to any other versions of Macbeth I have seen before. It’s a highly visual production which explores main themes of Macbeth’s breakdown and the supernatural through a fusion of Shakespeare’s original words and stunning choreography.
Reviews digest of openings in London, Leicester and Leeds from national critics for new productions of Linda, Funny Girl, The Girls, Oliver!, Barbarians and Macbeth.
The Young Vic has today (14 August 2015) announced new casting for several of its upcoming productions, including: John Heffernan as Macbeth, Anna Maxwell Martin as Lady Macbeth in Carrie Cracknell & Lucy Guerin’s production Paul Ready and Zubin Varla join Romola Garai in Measure for Measure directed by Joe Hill-Gibbins – additional performances on sale now Emily Barclay and …
Several weeks after the West End press night, I’m still thinking about Oppenheimer, which, after its premiere in Stratford-upon-Avon, the Royal Shakespeare Company has transferred to the Vaudeville Theatre for a limited West End season (thank you, RSC). I blogged separately about Tom Morton-Smith’s incredibly ambitious play in yesterday’s #TheatreDiary, but I wanted to come […]
In amongst the stellar West End revivals of late – not least “mother of all musicals” Gypsy with Imelda Staunton and David Mamet’s American Buffalo starring Damian Lewis and John Goodman – are some spectacular brand-new plays on and off West End. Here are three in particular that I highly, highly recommend. The first two […]
THE BIRTH OF THE BOMB This is what the RSC is for. Not mere Bardolatry, but to bring new work illuminated by the craft, humanity and wisdom which comes to those steeped in Shakespeare. We have felt heart-jerking … Continue reading →