This version of Look Back in Anger is from 30 odd years later and was mounted by Renaissance Theatre, then a relatively new company formed by a young Kenneth Branagh. The play was directed by Judi Dench, his is a made for television re-creation from 1989.
We are living, I have frequently been told, through weird times. Maybe. But do weird times necessarily require weird art? Do bad times provoke bad art?
Just a few days left to see Big Boots Theatre’s production of John Osborne’s 1956 landmark classic Look Back in Anger, the first revival of the play in London in 12 years. Why should you rush to the White Bear Theatre to catch it this week? We’ve rounded up review highlights. Time to get booking – fast!
Big Boots Theatre’s revival of John Osborne’s 1956 “kitchen-sink” classic Look Back in Anger is now open at London’s White Bear, where it’s running until 14 March 2020. How is today’s rage captured by the young cast? Check out our production shots gallery – and then get booking!
Jimmy Porter is the Heathcliff of kitchen sink drama. Dark, sexy, harsh, demanding, cruel; his vicious turns of phrase delivered in poetic flourishes, excite and repel in equal measure.
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.
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