Revival of Arthur Miller’s classic family drama All My Sons is very starry but the result is disappointingly uneven.
With compelling performances from the four leads this production of All My Sons fulfils its promise, a gripping Miller tragedy that concludes with a lasting sense of devastation.
Come From Away, Company and The Inheritance led the way with four awards each at the Olivier Awards 2019 with Mastercard, announced at a ceremony tonight (Sunday 7 April) at London’s Royal Albert Hall, hosted by Jason Manford.
The Old Vic today has announced that Matthew Warchus will direct Andrew Scott in Noёl Coward’s provocative comedy Present Laughter, opening on 25 June 2019, with previews from 17 June. The cast also includes Luke Thallon, Sophie Thompson, Suzie Toase and Indira Varma.
An innovative take on the lesser-known Arthur Miller play The American Clock, bringing the Vaudeville elements to the fore – as startlingly relevant as it ever has been.
I really enjoyed and was really technically impressed with The American Clock. A decent play, in an amazing production by a truly visionary director, brought to life by a brilliant cast.
Clarke Peters and Sule Rimi are to step in to cover the roles of Robertson, Moe 3 and Taylor in Arthur Miller’s The American Clock at the Old Vic, directed by Rachel Chavkin, following news that Giles Terera has had to withdraw from the production for personal reasons.
Starting off 2019 with plenty of theatre in the diary, these are the nine plays Rev Stan is particularly looking forward to seeing.
It’s time for Rev Stan’s best plays of 2018 overall, gleaned from everything I’ve seen – large productions and small, commercial theatres, subsidised and fringe.
Giles Terera (Hamilton) will be joining the cast of Arthur Miller’s The American Clock at the Old Vic, directed by Rachel Chavkin, to play Robertson/Moe 3.
Earlier this year I headed out on tour with The Flying Lovers of Vitebsk – well, I went to every venue on the UK leg of their tour… So with this being my year of Emma Rice, I simply had to do the same thing for Wise Children.
he beauty of seeing a show several times is that you can take in so many different things across the hours you spend in a theatre with it. With it being Emma Rice (and, let’s face it, Katy Owen) I’d booked four tickets in advance of seeing Wise Children.
Wise Children is a beautifully designed and performed show, that’s faithful to the source material without ever feeling constrained by it – a great statement of intent from Emma Rice.
Apparently, 2018 is the ‘Year of the Woman’, and it has definitely felt like the world of theatre has stepped up for the occasion.
Matthew Warchus’ fourth season as artistic director of The Old Vic completes with an Arthur Miller double-bill (featuring Rachel Chavkin’s Old Vic directorial debut), a world premiere by Lucy Prebble and a special One Voice performance.
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August was dominated by Edinburgh for me but the London theatre wheels were still turning; here’s my round up of my favourite bits of news, my theatre hits and misses and few celeb spots…
News, reviews, controversies and interviews of the week from London to Broadway, by way of Edinburgh, including the ‘banning’ of Mazz Murray from singing a song from Dreamgirls, Edinburgh venue pay rates, and a 70-year-old Broadway understudy getting the lead.
Random and topical thoughts and quotes gathered by My Theatre Mates contributor Aleks Sierz, first published on www.sierz.co.uk.
For a play about storytelling, most of A Monster Calls is oddly unengaging and bland. Worst of all, it does the audience’s moral work for them, being increasingly didactic and offering its sincere insights into loss, love, and feeling on a plate.