London-born actress Natasha Gordon’s warmhearted play, Nine Night, now making its first appearance at the National Theatre, is as much about family, music and mourning as it is about ethnicity or migration.
This site-specific version is a bit of a gimmick, and while one part of me yearns for the play to be allowed to speak for itself, another just relishes the novelty of this revival’s setting. So what’s the verdict? Guilty of being a good night out.
In Filthy Business, a comic epic, playwright Ryan Craig travels back in time to explore the poisonous and reptilian atmosphere of the Solomon family, the owners of a retail rubber business in North East London. As the title punningly suggests, a family working with rubber is prone to both physical dirtiness and moral corruption.
Oh dear. The first play explicitly about Brexit is being staged by the National Theatre in a production that has all the acrid flavour of virtue signalling.
Set in Dubai, the glowing capital city of the United Arab Emirates, it tells two parallel stories: one is the conflict between two English twentysomethings, Jamie and Clara, who travel to the Gulf for opposite reasons.
The company of The Kite Runner have started a nightly curtain-call ritual, reading out a response to US President Donald Trump’s executive order this past week banning Syrian refugees as well as all immigrants from seven predominantly Muslim countries from entering the United States. Worth watching and sharing.
The story starts in 2009 with Paul, a fortysomething professional who works in computing, returning to his home town, Skelmersdale, a 1960s overspill from Liverpool. Now living in Dublin, he’s come to see his mother, Hazel, who migrated to Britain from Ireland because she was an unmarried mother.
New play about two friends who grow up together is well structured, if a bit slender.
New two-hander about petty criminal youth in Ireland packs a strong emotional punch amid its hilarity.
New immersive experience tells its story of people trafficking with considerable power and imagination.
Past wrongs cast long shadows. Following the passing of the 1901 Immigration Restriction Act, successive Australian governments favoured migrants from English-speaking countries in what was called the White Australia policy. Between 1945 and 1968, for example, more than 3,000 British children were sent to the antipodes and told they were orphans. They expected the sunshine of a new start; what they got was the darkness of abuse. Australian playwright Tom Holloway’s 2013 drama looks at one instance of this policy, and denounces a historical wrong while at the same time holding a family reunion story close to its heart.
This new play about the relationship between a Brit and a Pole has some good moments, but remains undernourishing.
Lurid satire on the British tabloids returns with a vengeance in a hilarious evening of sharp jokes and farce
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