Mark Ravenhill’s The Haunting Of Susan A is a creditable and often gripping attempt to marry contemporary issues with Islington’s somewhat grim past, and an interesting, evocative way to commemorate fifty years of the King’s Head Theatre.
‘Intimate & immediate’: LA BOHEME – King’s Head Theatre ★★★
Mark Ravenhill’s production of La Boheme is pared down to 90 minutes and four on-stage characters, with a piano taking the place of an orchestra. This makes it intimate and immediate.
‘Moving moments as well as violent ones’: ANGELA – Royal Lyceum Theatre Edinburgh & Pitlochry Festival Theatre (Online review)
Mark Ravenhill’s new play Angela is a fragmentary sonic autobiography, both tender and occasionally fraught.
‘A touching & utterly personal piece of drama’: ANGELA – Royal Lyceum Theatre Edinburgh & Pitlochry Festival Theatre (Online review) ★★★★
A touching and utterly personal piece of drama, Angela by Mark Ravenhill is a fitting first offering in the Lyceum and Pitlochry Festival Theatre’s Sound Stage project in association with Naked Productions Ltd.
Star casting in & out of lockdown – the debate continues
Theatre may have migrated online for now (though here’s hoping that we’ll be back in the stalls and not just our armchairs or desks soon). Even though online theatre has created a much more level playing field in terms of opportunities for people and productions to be seen, with the smallest theatres like the Barn competing with the biggest like the National for audiences, star casting is STILL a thing.
NEWS: Cast is announced for the Sound Stage premiere of Mark Ravenhill’s first autobiographical play Angela
The Royal Lyceum Theatre Edinburgh and Pitlochry Festival Theatre, in association with Naked Productions and BBC Radio 3, have announced the cast for Sound Stage’s first production: Angela, a brand new autobiographical play by Mark Ravenhill which airs from 26-28 March 2021.
‘It has been a bit like the Wild West’: Recognising those pioneers extending the digital frontier
While Matthew Warchus at the other end of the Cut from the Young Vic, may have the Old Vic that he presides over (without any subsidy) dark, too, actually the theatre has been in use regularly and has continued to produce throughout the pandemic, with its “In Camera” broadcasts of live performances that have been staged in its empty auditorium.
‘Fierce & fresh’: LIVING NEWSPAPER – Royal Court Theatre (Online review)
Sneaking in in the nick of time, I catch the delights of the second edition of the Royal Court’s Living Newspaper.
‘I never thought, oh, one day The Boy in the Dress will be a musical with the RSC’: Interview with author David Walliams
After several years’ development, the Royal Shakespeare Company’s highly anticipated new musical – an adaptation of best-selling children’s author David Walliams‘ 2008 debut novel The Boy in the Dress with a book by Mark Ravenhill and music and lyrics by chart-topping songwriters Robbie Williams and Guy Chambers – is gearing up for its world premiere. Ahead of […]
NEWS: First casting announced for the RSC’s production of The Boy In The Dress
Rufus Hound, Irvine Iqbal, Natasha Lewis and Forbes Masson have been cast in The Boy in the Dress, the Royal Shakespeare Company’s new musical which runs in the Royal Shakespeare Theatre from 8 November 2019 to 8 March 2020 (press night is 27 November).
NEWS: Mark Ravenhill, Robbie Williams & Guy Chambers will pen new musical version of David Walliams’ The Boy in the Dress in RSC winter season
The Royal Shakespeare Company’s Winter 2019 season will include a new musical of David Walliams’ novel The Boy in the Dress with a book by Mark Ravenhill and music and lyrics by Robbie Williams and Guy Chambers, directed by Gregory Doran.
Text of the Day: The Cane
Random and topical thoughts and quotes gathered by My Theatre Mates contributor Aleks Sierz, first published on www.sierz.co.uk.
‘Utterly compelling storytelling’: THE CANE – Royal Court Theatre
A finely tuned, rapid fire and utterly compelling 100 minutes of theatre. The Cane challenges, provokes and entertains
Text of the Day: The Cane
Random and topical thoughts and quotes gathered by My Theatre Mates contributor Aleks Sierz, first published on www.sierz.co.uk.
‘Exactly what any radical playwright worth their salt should be doing’: THE CANE – Royal Court Theatre ★★★★
The Cane, Mark Ravenhill’s latest, represents an investigation that remarkably refuses to follow today’s tropes of outrage and counter-intuitively and presents a different kind of moral ethic.
‘Does a great job of really making you think’: THE CANE – Royal Court Theatre
Inspired by Mark Ravenhill’s realisation that some teachers retiring now would have been active when corporal punishment was outlawed in 1986, The Cane is his first new play for a goodly while.
‘Great writing, great production, great stuff’: THE CANE – Royal Court Theatre
Mark Ravenhill’s comeback play The Cane at the Royal Court Theatre is a brilliant, complex and mature account of the abuse of power.
‘Mischievously satirical & unsettling’: THE CANE – Royal Court Theatre ★★★
Can we, I wonder, ever learn to deplore past attitudes without being vengeful about it? The Cane is a mischievously satirical – and unsettling – imagination by Mark Ravenhill.
‘Engaging & powerful three-hander’: THE CANE – Royal Court Theatre
Mark Ravenhill’s fascinating new play The Cane at the Royal Court Theatre examines the issues of culpability for small-scale endorsed acts of violence and the nature of justice.
‘The play has become much more personal & intimate’: Molly Wheaton tells us about reviving The Cut
Mark Ravenhill’s The Cut shocked audiences when it premiered in 2006. Twelve years later, it’s being revived at the Lion And Unicorn Theatre. But this new version has made its own changes – recasting two male roles as female and making the audience choose who will be cut. Performer Molly Wheaton tells us more.