For Julius Caesar at the Bridge Theatre, Hytner has taken out the stalls seats of the new Bridge Theatre and created a promenade performance which begins, like a Trump rally, with a warm-up. It’s one of the best pre-shows I’ve ever seen.
From its rock fest opening to its fast and furious battle finale, Nicholas Hytner’s modern-dress Julius Caesar packs a powerful punch.
If Nicholas Hytner’s concept for Julius Caesar at the Bridge Theatre was applied with as much thought and skill as the staging, this would be a truly fantastic production.
Julius Caesar really isn’t Shakespeare’s best play, there’s very little poetry in the lines and after the assassination, the plot’s far from clear, but this production makes it accessible.
So would I go to more Shakespeare after this experience seeing Julius Caesar,? Yes, I would. More importantly, could I see myself as a regular visitor to the Bridge Theatre? That has to be an emphatic yes.
There is no option of falling asleep because if you aren’t being shoved around as if on a rush hour tube then gunfire is constantly going off. Being in the pit is an intensely exciting and quite emotional experience.
Surrounded by those with seated tickets and lorded over by scene after scene of masterclasses in the craft, the cheap seats in the pit for Julius Caesar at the Bridge Theatre are without doubt the best.
This production of Julius Caesar at the Bridge Theatre captures the audience’s attention (no matter where you sit or stand) to such great effect that the (just over) two hours passes quickly and powerfully. Well worth a visit.
It is rarely a play that moves you and so it is here, even though Nicholas Hytner’s production of Julius Caesar at the Bridge Theatre, London does provide moments of intellectual stimulus.
Julius Caesar at the Bridge Theatre is a visceral and dynamic take on the classic Shakespearean political thriller with star performances and innovative staging.
In Julius Caesar at the Bridge Theatre Nicholas Hytner has pointed up the current parallels – populism, fake news, regime changes – and gleefully refashioned his new theatre to allow some 200 of us, on foot in the pit, to represent the Roman mob.
Nicholas Hytner’s production of Julius Caesar at the Bridge Theatre is nothing short of a Roman triumph, capturing the wonderful lyricism of Shakespeare’s writing, in what are some of his most beautiful speeches, with an urgency of action that means two hours just races by.
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.
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.
Nicholas Hytner and Nick Starr have announced the opening programme for their The Bridge Theatre venture – the 900-seat commercial venue near to Tower Bridge which marks their re-entry into the London theatre landscape.
London Theatre Company announces the first productions at its new Bridge Theatre, which opens this October on the river by Tower Bridge and City Hall.
Apart from my Edinburgh blitz, I like to take August a little slow on the theatregoing front. These few weeks offer a brief respite while many people are away on holiday or still up at the Fringe (which I’m not the slightest bit jealous about – no, really) before the ‘autumn season’ kicks off and […]
Peter McKintosh designs cold, skilful dictator chic: above a shining marble floor, the majestic Mittel-Europa chandelier dims to a blood-red aurora or to surveillance-camera pinpoints. A wide dark window looms beyond two silver-gilt audience chairs. We are in a Presidential Palace anywhere on the grim modern globe. The Leader himself is never seen; we watch, in fragmented, fugal snap-scenes, four women waiting for him through a long afternoon and evening. Outside, a denied revolution is brewing beyond the river as the despised “Northerners” take revenge.