Monica Dolan is more than worth the journey in Lia Williams’ striking production of Doubt: A Parable at Chichester Festival Theatre.
The story is told in 90 riveting minutes in conversations between just four actors who portrayed their characters with impeccable dynamism.
The great thing about Lucy Bailey’s 80-minute production of Oleanna is its sense of balance. And I have to say that it changed my mind about the power balance in the drama.
A Marvellous Party, commissioned by the Noël Coward Foundation, ostensibly marks the centenary of Coward’s first appearance on stage and has been produced to raise funds for actors on both sides of the Atlantic who are struggling with the effects of the pandemic.
While there might not be quite as many meaty stage roles for actresses as there are actors (is that changing?), the plethora of acting talent I’ve seen over the past 10 years made this quite tricky to narrow down.
Clive Owen has returned to the West End for the first time in 18 years to play the Rev. T. Lawrence Shannon in Tennessee Williams’ The Night Of The Iguana in a new production directed by James Macdonald. So what did the Mates think of this production?
James Macdonald is the latest director to tackle The Night of the Iguana, perhaps best known from its film adaptation starring Richard Burton , Deborah Kerr and Ava Gardner.
Love London Love Culture rounds up the reviews for James Macdonald’s production of The Night of the Iguana starring Clive Owen.
Star cast delivers a terrific revival of Tennessee Williams’s last masterpiece The Night of the Iguana at the Noel Coward Theatre.
The Night of the Iguana takes three hours to tell a fairly simple story which could be done in 30 minutes, but it is worth the price of a ticket simply to watch Lia Williams deliver an outstanding performance as one of Tennessee Williams’ great, but unsung, female characters.
Clive Owen and Lia Williams do justice to the wild lush text of The Night Of The Iguana at the Noel Coward Theatre, rich in wonder and filth, corruption and beauty.
Gripping performances from Clive Owen and Lia Williams, and James Macdonald’s slow-burn direction allows Tennessee Williams’ writing in The Night Of The Iguana to cast its spell.
In just six months, Jamie Lloyd’s creative team and ever-changing company of actors has utterly transformed our perspective on Harold Pinter.
Clive Owen will return to the West End for the first time in 18 years to play the Rev. T. Lawrence Shannon in The Night Of The Iguana in a new production directed by James Macdonald. The production will begin performances at the Noël Coward Theatre on 6 July 2019 (press night is 16 July) and runs until 28 September.
The shortlist for the 64th Evening Standard Theatre Awards has been unveiled. The winners will be announced on Sunday 18 November at the Theatre Royal, Drury Lane.
Beginning with a burst of confetti and ending in a sombre drop of petals, Pinter One is the far darker side of Pinter at the Pinter
“They don’t like you either, my darling”
I found myself enjoying Pinter Two much more than expected and so momentarily forgetting that I’d sworn off the whole thing, I rashly decided to book in for Pinter One, which proves to be an entirely different kind of affair. Not just thematically – it’s an overtly political collection of works and thus considerably darker – but structurally, gathering together no less than nine short pieces, eight of which run together to make the first half.
They’re Press Conference / Precisely / The New World Order / Mountain Language / American Football / The Pres and an Officer / Death / and One for the Road (all directed by Jamie Lloyd) with Ashes to Ashes (directed by the Lia Williams) following after the interval. And so ultimately it feels a bit more like a showcase of Pinter which brings with it some challenges, alongside the interest value in unearthing some lesser-seen works, including a world premiere.
That premiere – The Pres And An Officer – manages the not-unimpressive feat of fully justifying its Trump-a-like as Pinter’s prescience in nailing the vicissitudes of a numbnuts US president is uncanny. Played by a roll-call of guest stars (I saw Jon Culshaw), its a welcome burst of comedy in an otherwise dark affair and you have to laugh, because otherwise you’d cry.
Elsewhere Paapa Essiedu and Sir Antony Sher are grippingly intense in the exquisite torture of One For The Road, and Kate O’Flynn and Maggie Steed are pointedly excellent as a pair of bull-shitting men. And what you get here that you don’t in Pinter 2 is a real sense of how imaginatively flexible Soutra Gilmour’s revolving cube design is as it reconfigures at every available opportunity.
Post-interval, O’Flynn and Essiedu tackle 1996’s Ashes to Ashes, a more typically cryptic work where a couple are talking and yet their meaning is slippery and vague and disturbing and unmissable. Both actors deliver their ‘conversation’ with the utmost conviction, its impossible to drag your eyes from them even as we get darker and more violent and stranger. It’s hard work, as is the whole thing, but worth it for its sheer quality.
Running time: 2 hours 10 minutes (with interval)
Photos: Marc Brenner
Pinter One is booking in rep with Pinter Two – The Lover/The Collection at the Harold Pinter Theatre until 20th October
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Jamie Lloyd is embarking on an epic project: to stage every single one of the influential playwright Harold Pinter’s short plays over a six month period at the theatre which bears his name. Pinter at the Pinter. Pretty neat huh?
By emphasising the common themes in Pinter One and the topicality of their subject matter, this a very strong start for the Pinter at the Pinter season.
Further all-star casting has been announced for Jamie Lloyd Company’s Pinter at the Pinter, an unparalleled event featuring all twenty short plays written by Harold Pinter in the West End theatre that bears his name.
Polly Findlay’s fluent production of The Prime of Miss Jean Brodie avoids the fluting exaggerations of some previous versions and tells the story with a fine appreciation of its grounding in the needy emotions of all concerned.