Continental drama, in this era of Brexit negotiations, seems to be rarer and rarer on British stages. But, luckily, there are some venues which buck this parochial trend.
Network is enthralling, interpreting a strange story in a slick, fast-moving production that manages to reveal the media’s rather shallow relationship with truth and makes profound statements about the concept of collective action, all the while being true to its original movie roots.
Graham tells the eye-opening story of how Murdoch bought the ailing Sun newspaper and turned it into Britain’s most popular tabloid by focusing on the tycoon’s relationship with Larry Lamb, the paper’s new editor, and the rivalry between Lamb and his former boss, the Mirror editor Hugh Cudlipp.
This play’s subject is alienation, at work and in the home. (But mainly at work.) In contemporary society, office work seems to symbolize a life of modern drudgery.
Exchange Theatre sets The Misanthrope in a contemporary newsroom full of gossip, affairs, backstabbing and cocaine-fueled all-nighters. Alceste loathes the way his colleagues behave, but fancies the flirtatious Celimene in spite of his prejudices.
Oh dear. The first play explicitly about Brexit is being staged by the National Theatre in a production that has all the acrid flavour of virtue signalling.
Making devised work for the past 50 years, People Show are nothing less than prolific. Their multidisciplinary works are numbered as part of the title; the company’s works now number 132. To celebrate their anniversary, the company’s taken over Toynbee Studios for three days, filling the venue with performances, films and an exhibition celebrating their half a century of work.
Politicians and members of the press are hardly the best of bedfellows. Unrestrained and violent, Ross Sutherland’s Party Trap explodes this relationship in a dystopian TV interview between journalist Sir David Bradley and MP Amanda Barkham after a landmark decision classifying political criticism as hate speech.
Lady Pamela More covers fashion and socialites for The Times and she has no interest in any other topic. As Britain’s involvement in the war becomes certain, her disinterest in politics and international affairs wanes, and her social circles are split into those who support Germany and those who believe the whispered stories coming across the channel.
New verbatim play about the terror state is worthy, but completely unenlightening and sadly undramatic.
Lurid satire on the British tabloids returns with a vengeance in a hilarious evening of sharp jokes and farce
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