This is a labour of love. Hilary Mantel has adapted The Mirror and the Light, the third novel of her Tudor trilogy, in collaboration with actor Ben Miles.
Looking ahead to some of 2020’s exciting shows, most with an emphasis away from the West End and instead focusing at the London Fringe and across the UK.
Anthony McCarten has put together a top-notch drama in The Pope which is brought to life by the outstanding performances of gifted character actors, Anton Lesser and Nicholas Woodeson.
Pinter Five sees Patrick Marber, someone who could call Harold Pinter a friend and colleague, take the directorial wheel as he presents a triple-bill of The Room, Victoria Station and Family Voices, delving further into the wealth of short plays left behind by the playwright.
The collective works that make-up Pinter 5 feel as insightful and meaningful as any of the Pinter at the Pinter anthologies that have come before.
Further all-star casting has been announced for Jamie Lloyd Company’s Pinter at the Pinter, an unparalleled event featuring all twenty short plays written by Harold Pinter in the West End theatre that bears his name.
Pinter at the Pinter, a unique event presented by the Jamie Lloyd Company, featuring all 20 one-act plays written by the great British playwright, will be performed in the theatre that bears his name from 6 September 2018 to 23 February 2019.
Industry body UK Theatre has announced the nominations for the annual UK Theatre Awards, which celebrate creative excellence and the outstanding work seen on stages throughout England, Scotland, Wales and Northern Ireland. Notably, for the first time in the Awards history, all nominations for Best New Play are written by female playwrights.
Seeing Northampton’s Royal & Derngate production almost at the end of its tour in the Yvonne Arnaud Theatre – such a lovely theatre now, clearly well cherished locally and a perfect space for a play that is intimate and epic – you have to applaud a cast whose early days must have been testing in the extreme.
Miller’s 1949 depiction of the ageing, failing salesman Willy Loman as he struggles to comes to terms with the death of his dreams – and perhaps of The American Dream itself – has only gained in stature over the years. What some regarded as a merely a Marxist- derived critique of the US way of life has come to seem as much like high tragedy as anything English-speaking theatre has produced in the last century.