We round up the reviews for the Lyric Hammersmith’s 2019 pantomime Cinderella.
NEWS: National Theatre’s 2020 programme includes new production of Romeo & Juliet starring Josh O’Connor & Jessie Buckley
The National Theatre has announced its programme of productions between December 2019 and June 2020, including Simon Godwin directing Romeo & Juliet with Josh O’Connor and Jessie Buckley.
NEWS: Rachel O’Riordan’s inaugural season at Lyric Hammersmith includes Tanika Gupta’s version of A Doll’s House & new play from David Greig
The Lyric Hammersmith Theatre has announced its 2019/2020 programme of work, Rachel O’Riordan’s inaugural season as artistic director.
REVIEW ROUND-UP: Dick Whittington at the Lyric Hammersmith
Love London Love Culture rounds up the reviews for the Lyric Hammersmith’s 10th-anniversary pantomime Dick Whittington.
‘A new kind of Shakespearean tragedy’: OTHELLOMACBETH – Lyric Hammersmith ★★★★
Director Jude Christian’s othellomacbeth, two-for-one offer on Shakespearean tragedies at the Lyric Hammersmith, sounds like a bad idea. Crammed into two and half hours, there’s too much material and too little time. And yet, somehow, they manage to pull it off.
‘We may need a bit more nourishment’: OTHELLOMACBETH – Lyric Hammersmith ★★★
Plays for poor theatre: in Brexit Britain, once we’re reduced to eating rats whilst clutching our blue passports, a Shakespeare mashup may seem like a doubly good idea – patriotic and economical. Like May’s Brexit, Othellomacbeth still needs a bit of work.
‘Deserves the utmost acclaim’: OthelloMacbeth – Manchester ★★★★★
By exposing the dire consequences that arise from the misuse of power in relation to two of Shakespeare’s plays, HOME and Lyric Hammersmith have produced an innovative piece of theatre that deserves the utmost acclaim and remembrance for its sheer creativity and ambition.
‘Sound in its content and form’: TRUST – Gate Theatre
In Trust, the attack on capitalist structures that have ruined the lives and livelihoods of an entire generation is sharp and well-staged, with striking imagery and conflict that lingers to powerful effect.
‘The play’s German, so of course it’s batshit’: TRUST – Gate Theatre
Structurally playful (the way captions are introduced for each chapter is ingenious) but thematically consistent (the world is going to shit, no really THE WORLD IS GOING TO SHIT), there’s no doubting that Trust is formally exacting.
‘I was well entertained for every one of its 80 minutes’: MY MUM’S A TWAT – Royal Court Theatre
Brill! Lively, but also occasionally moving, account of growing up while your Mum becomes a cult member.
REVIEW ROUND-UP: My Mum’s a Twat at the Royal Court Theatre
Anoushka Warden’s debut play My Mum’s a Twat, a celebration of rebellion and resilience, is directed by Royal Court Artistic Director Vicky Featherstone and Jude Christian and runs at the Court’s Jerwood Theatre Upstairs until 20 January 2018. What do critics say?
PARLIAMENT SQUARE – Bush Theatre
Kat is a young wife and mother, and Fritz tells her story in three episodes. The first, called Fifteen Seconds, shows her deciding to skip off work and, instead, board a train for London where she will douse her own body with petrol in Parliament Square and set herself alight.
PARLIAMENT SQUARE – Bush Theatre
Kat is a young wife and mother, and Fritz tells her story in three episodes. The first, called Fifteen Seconds, shows her deciding to skip off work and, instead, board a train for London where she will douse her own body with petrol in Parliament Square and set herself alight.
NEWS: Patsy Ferran stars in world premiere of My Mum’s a Twat
Patsy Ferran has been cast in the world premiere of My Mum’s a Twat, the debut play by Anoushka Warden, which runs at the Royal Court Jerwood Theatre Upstairs from 8 to 20 January 2018.
PARLIAMENT SQUARE – Bush Theatre
Perhaps one of the biggest strengths of Fritz’s writing is his ambiguity and the fact that Parliament Square poses more questions than it answers. The stakes are high.
BODIES – Royal Court
It certainly packs a punch, and this is not solely due to the finesse displayed in the writing. Like an ultrasound revealing Bodies’ truly threatening potential, director Jude Christian heads a show that at one point sends an intersubjective shiver reverberating throughout her audience.
BODIES – Royal Court Theatre
It’s a very strange feeling when you come across two new plays with almost identical themes – a zeitgeist moment where an idea floating in the ether gets picked up by two playwrights in close time proximity.
REVIEW ROUND-UP: Bodies at Royal Court Theatre
Vivienne Franzmann’s new play exploring the human cost of surrogacy is directed by Jude Christian. Here is what critics have been saying about it.
BODIES – Royal Court Theatre
New drama about surrogacy is rich in metaphor and fraught with conflict, but you have to ignore its politics.