A very interesting programme article will tell you the difference between the multiple takes (the National’s programmes remain the most informative and best value for money in the capital) but what audiences really need to know is that this is very much Simon Stone’s Phaedra, and he has once again done what he effected upon Lorca’s Yerma at the Young Vic then subsequently in New York in 2016-7.
‘The actors create a compelling story as soon as the lights go on’: PHAEDRA – National Theatre
Simon Stone turns his attention to another important literary woman, Phaedra as imagined by Euripides, Seneca and Racine and given a modern retelling in a production at the National Theatre written and directed by Stone. Stone’s vision for Phaedra is riveting in a piece that explores mature sexuality, fantasy and generational competition between mother and daughter.
‘It’s all really rather captivating’: PINTER TWO – West End
Impeccably acted and insightfully staged, Pinter Two a most effective double bill and a promising start to a season I may yet fall for more completely.
‘A pair of sharp, fresh productions’: PINTER TWO – West End
David Suchet, image copyright Marc Brenner The Lover / The Collection by Harold Pinter – Pinter Theatre, London Both these plays, part of Jamie Lloyd’s ingenious idea for a complete season of Harold Pinter’s short works, are from the early 1960s. Nearly 60 years later any normal playwright’s work would be showing its age, but … Continue reading The Lover / The Collection
‘Still feels incredibly modern’: PINTER TWO – West End ★★★
The Collection (and The Lover) still feel incredibly modern in their case-study observations on infidelity and subterfuge, even though none of the indiscretions seem particularly radical by today’s standards.
PINTER TWO – West End
Pinter Two is a complete change of tone from its companion collection, moving from social politics to more familiar Pinter territory, relationship politics.
NEWS: Antony Sher, Penelope Wilton, Russell Tovey & others join all-star Pinter at Pinter
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.
NEWS: Martin Freeman & Jane Horrocks among stars lined up for West End season of Harold Pinter short plays
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.
KILLER – Shoreditch Town Hall
One of the reasons that Philip Ridley is the crown prince of imaginative playwriting is that he came at theatre from leftfield. In the 1980s, he didn’t go to drama school — he went to art college instead. This freed his mind from following established theatre conventions, and so anything was possible.
KILLER – Shoreditch Town Hall
Latest trio of monologues from Philip Ridley are performed in the dark: both chilling and humorous.
NEWS: Jamie Lloyd directs immersive Philip Ridley double bill in Shoreditch
Today Shoreditch Town Hall announces an immersive double-bill of Philip Ridley plays, including the world première of Killer and a new production of Ridley’s contemporary classic The Pitchfork Disney, his first stage play which premièred in 1991. The productions will both be directed by Jamie Lloyd and run in ‘The Ditch’ basement spaces of Shoreditch Town Hall in spring 2017. …
THE HOMECOMING – West End
It’s fair to say that Pinter is not for the faint hearted of theatre goers. The complexity, controversial and sometimes baffling storylines dealing with sexism, antiquated values, male chauvinism and anger does not make for a necessarily enjoyable evening. An awkward reminder of bygone days is an unusual choice to celebrate its 50th anniversary. However what makes this production is the artistic direction of Jamie Lloyd and a cast of brilliant actors each at the height of their profession.
THE HOMECOMING – West End
A true theatre masterpiece can survive any directorial mugging. By this definition, Harold Pinter’s 1965 play, The Homecoming, is a robust work of genius. It has to be because, from the very start of this starry 50th anniversary revival, director Jamie Lloyd seems determined to turn it into a lurid mix of cartoon and nostalgia-fest. As the evening begins, the drama’s grubby setting, given a retro look by designer Soutra Gilmour with the addition of a couple of sticks of period furniture, is bathed in bright red light while pounding drums and throbbing bass evoke something like the Swinging Sixties.