New 2020/2021 productions at London’s Bridge Theatre will begin with Polly Findlay directing Roger Allam and Colin Morgan in Caryl Churchill’s play A Number at London’s Bridge Theatre.
There’s excellent acting in Two Ladies, a play that tickles the senses and the intellect by playfully morphing from one genre to another.
In a tight 90 minutes Nancy Harris’ new play Two Ladies moves from a sharp, occasionally funny observation of this wifely condition into a meditation on politics both gender and global:
“What angel wakes me from my flowery bed?” A plethora of productions of A Midsummer Night’s Dream, that’s what.
Love London Love Culture rounds up the reviews for the Bridge Theatre’s latest immersive Shakespeare production of A Midsummer Night’s Dream.
Nicholas Hytner gives us an utterly inspired take on A Midsummer Night’s Dream at the Bridge Theatre, with Gwendoline Christie in stupendous form.
Don’t leave it to the last minute to get into the auditorium for the Bridge Theatre immersive, promenade production of A Midsummer Night’s Dream because there is stuff going on before the play officially starts.
It is the slight rearrangement of the text and its implication for the female characters that is Nicholas Hytner’s most notable achievement here in A Midsummer Night’s Dream at the Bridge Theatre.
A Midsummer Night’s Dream at the Bridge Theatre is a dream of a Dream. One expected fun from the combination of Nicholas Hytner, a roiling mass of promenaders in the pit and a Bunny Christie design which makes the most of this fresh big theatre’s technical tricks.
Zoë Wanamaker and Zrinka Cvitešić will play Hélène and Sophia respectively in Two Ladies, a new play by Nancy Harris to be directed by Nicholas Hytner for the London Theatre Company at the Bridge Theatre.
London Theatre Company and King’s Cross Central Limited Partnership (KCCLP) have announced their joint venture for a brand new 600 theatre in King’s Cross.
Maggie Smith is absolutely triumphant in this memoir of a Berlin secretary in the Nazi era, A German Life at the Bridge Theatre.
Couldn’t miss Nicholas Hytner’s bit of mischief: after his years of being being alternately feted and rubbished in print, he displays directorial glee in sending up the noisome denizens of a broadsheet arts desk thanks to Lucinda Coxon’s black-hearted comedy of modern media manners, Alys, Always at the Bridge Theatre.
Alys, Always, a adaptation of Harriet Lane’s psychological and satirical bestseller, is neither vital, nor convincing.
Love London Love Culture rounds up the reviews for Nicholas Hytner’s production of Alys Always based on Harriet Lane’s novel.
Look, as a piece of drama Alys, Always isn’t the best thing you’ll ever see. It’s unlikely to be troubling the Olivier nominations next year I wouldn’t think. But, actually, I sort of don’t care. It’s really good fun; sheer entertainment with a little bit of something to mentally chew over after the show.
If there is a good argument for remembrance, and there is an equally good one for forgetting, what you can never forget is the War Horse experience.
I’m fairly sure the land on which the Bridge Theatre was built was once a plague pit, but I’m beginning to wonder if the place isn’t itself cursed. How else can it commission a play by Three Billboards Outside Ebbing, Missouri writer Martin McDonagh that is, not to put too fine a point on it, as enjoyable as passing A Very, Very, Very Painful Stool? For an hour and a half.
After a sell-out run in June this year in which Laura Linney made her London theatre debut, she will return to the Bridge Theatre to reprise the title role in Richard Eyre’s production of My Name is Lucy Barton.
By turns cynical, touching and with a rogue twinkle in its eye, Allelujah! doesn’t set the stage alight, and as both a black comedy and state-of-the-nation play it feels underpowered, but Bennett remains a bastion of not just British playwriting, but Britain as a whole.