Black comedy Sydney & The Old Girl is occasionally entertaining, but much too dark and dispiriting for its own good.
Sydney & the Old Girl features commendable performances and there is a good dose of humour, however ultimately this sinister play which intends to shock simply leaves you feeling deflated.
Sydney & the Old Girl is a refreshing breath of foul air, a dark comedy with deeply unpleasant characters which manages to echo Pinter and Joe Orton in its macabre domestic antagonism.
“A meaningful play about a really important subject”. As I left the Park Theatre having watched Eugene O’Hare’s play The Weatherman, these were the sort of (overheard) comments I heard. Unfortunately, I could not altogether agree.
The Weatherman, Eugene O’Hare’s full-length debut play opens with brief sunny spells but it’s clear that the forecast is for a stormy and changeable production.
The trafficking of human beings – 7,000 identified in the UK in 2018 – is a disgusting blight on our country. The fledgling playwright Eugene O’Hare is among many earnest contemporary writers (working in theatre, film and stage) seeking to shine a light on the problem.
Jonathan Church has a showman’s eye for the popular and it’s a relief to report that Vanya & Sonia & Masha & Spike provides a strong start to another Bath summer season.
Tamburlaine at the Swan Theatre, Stratford-upon-Avon brings the wonder and the terror of Marlowe’s shepherd emperor to life in a production that gives an almost faultless account of a defective but fascinating play.
Jude Owusu cuts a blood-soaked swathe through history in an ambitious, epic and savage retelling of Christopher Marlowe’s Tamburlaine at the Swan Theatre in Stratford-upon-Avon.
Award-winning John Tiffany directs, bringing to life a show that has been in his thoughts for several years now – he’s joined on the team by long-standing collaborator Bob Crowley, as well as Toby Olié as puppet director.
No matter the weather, as you walk into the Lyttelton’s auditorium for Pinocchio, you’ll find that it is snowing. A simple trick but one that inspires just the right childlike wonder for an adaptation of such a popular fairytale.
This is a magical, heartwarming production which uses a variety of theatrical devices in the purest and most masterful way. I’d certainly urge you to get to the National to experience it for yourself and be reminded of the importance of love and family.
It’s an old tale and a magical one. The deployment of spectacle and effects under John Tiffany’s direction and the remarkable tech and design team are not allowed to overshadow its old-fashioned moralities.
The recent production of Jim Cartwrwight’s Road at the Royal Court made for unmissible viewing – a blindingly relevant show that gives expression to the inhabitants of an unnamed northern road in Eighties Britain. After seeing John Tiffany’s production, I sat down with actors Mark Hadfield and Liz White to find out more about the process that went into creating the show.
Powerful revival of Jim Cartwright’s 1986 modern classic comes alive in all its noisy, vulgar and transcendent glory.
As somebody who grew up on the outskirts of a depressed Lancashire town in the 1980s, I wasn’t quite sure what to expect from the Royal Court’s revival of Jim Cartwright’s seminal debut play Road.
I started to wonder whether being cast with an all Indian company – to reflect the population of a typical Lancashire street of terraces nowadays – might better highlight the characters’ issues and dilemmas,
Jim Cartwright’s script is atmospheric in itself, the personalities of each character who all represent a different failing of society are there in the text.
The Royal Court Theatre announces the cast for Road, written by Jim Cartwright and directed by John Tiffany. Cartwright’s seminal play gives expression to the inhabitants of an unnamed northern road in Eighties Britain.
Stephen Jeffreys’ play tells the true story of John Wilmot, a 17th century gentleman and writer, who wasted his considerable talent on a life of drunken debauchery, before dying at just 33.
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