Intriguing Cold War thriller Anna is thoroughly immersive, but lacks a convincing sense of historical reality.
The publicity for Martin Crimp’s new play, gleefully stoked by the National Theatre, has been all about Cate Blanchett and ‘bondage’ scenes
Martin Crimp’s new play, When We Have Sufficiently Tortured Each Other at the National Theatre, has been hyped because of its star, Cate Blanchett, and rightly so: it’s a five-star show.
While it may not necessarily live up to expectations, When We Have Sufficiently Tortured Each Other is a dark humoured, somewhat odd yet gripping production, and worth a watch for the performances alone. But if it’s the shock value you’re after, there is nothing here that you wouldn’t see on post-watershed television.
Strong performances from Cate Blanchett and Stephen Dillane make the challenging When We Have Sufficiently Tortured Each Other worth the effort at the National Theatre.
When tickets went on sale for the concluding play in Jamie Lloyd’s Pinter at the Pinter season – Betrayal starring Tom Hiddleston – those who had already booked tickets for other, arguably less commercial plays, were given 24-hours priority booking.
Rufus Norris has unveiled the National Theatre’s plans for 2019 and beyond. Highlights include the world premiere of Small Island adapted by Helen Edmundson from Andrea Levy’s novel, directed by Rufus Norris.
Cate Blanchett and Stephen Dillane will perform in the world premiere of Martin Crimp’s play When We Have Sufficiently Tortured Each Other (Twelve Variations On Samuel Richardson’s Pamela), directed by Katie Mitchell at the National Theatre in January 2019.
Lessons in Love & Violence is a deliciously cool, intellectually stimulating and tremendously suggestive reading of a brilliant piece about the politics of power, the confusion of desire and the horror of violence. If love can make us human, so can murder.
Former artistic director of the Young Vic, director and playwright David Lan will be presented with the Special Award at the Olivier Awards 2018 ceremony on Sunday 8 April at London’s Royal Albert Hall.
Katie Mitchell’s production of Donizetti’s opera is revived at the Royal Opera House. But what have critics had to say about it?
Katie Mitchell directs Alice Birch’s play, being performed at the Royal Court Theatre as part of the theatre’s Jerwood New Playwrights programme. But what have critics been saying about it?
Love her or hate her, Katie Mitchell is surely our most bravely iconoclastic theatre director working in Britain today. If Robert Lepage is the magician who smoothes the cracks between technology and stagecraft, Katie Mitchell is the one who adds tough edginess.
And what an excruciating, yet devastatingly brilliant, two hours they are. The play shows episodes from the life of the women of one family spread over three time periods: one starts in the 1970s, the next in the 1990s and the third in the 2030s.
City of Glass, the first part of Auster’s New York Trilogy, was first published in 1985. It’s an enjoyably tricksy, postmodern novel in which Daniel Quinn, a detective-story writer, becomes a freelance investigator after answering a mysterious telephone call.
George Benjamin and Martin Crimp’s opera is revived at the Royal Opera House for the first time, directed by Katie Mitchell and running until 30 January 2017. Here is what critics have been saying about it.
Recalling the year past, which is de rigueur for those of us who have spent too many nights in darkened rooms, I’m struck again by the richness and talent of so many shows I’ve seen, particularly in the smaller and Off-West End and Fringe venues.
Top director Ivo van Hove makes an uneven Southbank debut, preferring visual beauty to emotional connection.
Following a run at London’s Pleasance Theatre, Islington in 2014 and two sell-out runs at the Edinburgh Fringe Festival, the acclaimed stage adaptation of Dr Seuss’s The Cat In The Hat will return this festive season, running again at the Pleasance from Tuesday 6 December 2016 to Monday 2 January 2017.
New epic about mothers and daughters in the age of oil is wonderfully ambitious, but deeply unhistorical.
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