Big Boots Theatre brings John Osborne’s 1956 classic Look Back in Anger to the London fringe with a fresh young cast from 25 February. Osborne biographer Peter Whitebrook explains why the play was so disruptive in post-war Britain and why, 60 years on, it has stood the test of time. Time to get booking!
We’re going black-and-white gritty for John Osborne’s 1956 “kitchen-sink” classic Look Back in Anger. What has Big Boots Theatre’s new young cast been up to in rehearsals? Have a look at our behind-the-scenes photo gallery – and then get booking!
John Osborne’s 1956 classic Look Back in Anger gets a rare fringe revival at the 50-seat White Bear Theatre in Kennington, south London. The Big Boots Theatre Company production runs from 25 February to 14 March 2020, with a press night on 27 February. Time to get booking!
Not Exactly Billington has set themselves a challenge to read a new (to them) playtext every week. In August, their #ReadaPlayaWeek titles included John Osborne’s Luther, Christopher Shinn’s Dying City, Abi Zakarian’s This is Not an Exit, E.V. Crowe’s I Can Hear You, and Alice Birch’s Revolt. She said. Revolt again.
John Osborne’s disgusted play The Entertainer about a washed-up, alcoholic comedian whose son is at war dates from 1957 – Suez and Macmillan – but Sean O’Connor has hauled it forwards to the 1980s
Random and topical thoughts and quotes gathered by My Theatre Mates contributor Aleks Sierz, first published on www.sierz.co.uk. One from the archives…
Classic 1953 play by the English Chekhov is fascinating, but rather dated in its values and too clumsy in its production.
Yesterday, I was extremely glad to attend the Wesker Celebration, which was organised by playwright David Edgar, professor Pamela Howard and publicist Anne Mayer, at the Royal Court.
This week, the London theatre bloggers discuss The Entertainer starring Kenneth Branagh, Chichester’s transfer of its Young Chekhov season to the National, and Home Chat at the Finborough.
Is it pure coincidence that many of the plays I’ve seen recently feature actors as characters? And, consequently, a range of views on the life of actors and the nature of acting, which got my quote-taking pen twitching. For any actors or FFOAs (friends or family of actors) reading, please tell me which most closely sums up your perspective.
Kenneth Branagh’s final show in his West End season is a revival that is slick, but a bit passionless.
If you find yourself in an audience of maturer years , flee quickly at the final curtain, or someone will creakingly inform you that they saw Olivier as Archie Rice, John Osborne’s failing music-hall performer in 1957.
Gawn Grainger has joined the Kenneth Branagh Theatre Company production of The Entertainer, which began rehearsals this week. Gawn is playing Billy Rice and replaces John Hurt who, on the advice of his doctors, recently had to withdraw from the production.
It is announced today that on the advice of his doctors, John Hurt has had to withdraw from the Kenneth Branagh Theatre Company production of John Osborne’s The Entertainer, the final production in the year-long Branagh Theatre season, which runs at the West End’s Garrick Theatre 20 August to 12 November 2016.
Jamie Muscato gives Holyoake – intense, starveling, stubborn – his reported stammer, and in a fine performance holds it brilliantly just this side of intrusiveness, indeed using it to intensify the man’s fanatical, near- hysterical need to speak his truth at all costs. And there are costs.
Jamie Muscato does a fantastic job with Holyoake, particularly in the courtroom scenes, and the rest of the cast are a smooth ensemble of devout resistance against him. Muscato’s flawless embodiment of his character’s tenacity and struggle is a masterclass in detailed characterisation.
In 1975 Emmylou Harris might have walked all the way from Boulder to Birmingham but in 1842 a weedy, tweedy small-town teacher and small-time socialist named George Holyoake actually walked from Birmingham to Bristol to visit a friend imprisoned for publishing a journal criticising the establishment. He pauses in conservative Cheltenham to give a talk to the Chartists about migration and Poor Law reform – and because of one glancingly atheistic remark, is arrested and tried for blasphemy.
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