East Is East is a recent addition to National Theatre’s At Home catalogue and only appeared as a live production back in October.
‘Ruth Wilson is strong casting in the central role’: HEDDA GABLER – National Theatre At Home (Online review)
Ruth Wilson is strong casting in the central role with a, for once, restrained Ivo van Hove directing.
‘A modern fairy tale with attitude’: SHREK THE MUSICAL (Online review)
The Shrek franchise opts for a modern-day spin on the traditional form, undermining expectations and undercutting some of the more winsome aspects with one-liners and witty put-downs.
‘I would like to see how this audio drama would play out onstage: WINTER SOLSTICE – BBC Sounds (Online review)
The holidays have always been a time of rich pickings for dramatists, bringing together people (pre-Covid at least) who probably avoid each other for the rest of the year.
‘Enhanced by crisp editing & two towering performances’: DEATH OF ENGLAND: FACE TO FACE – National Theatre (Online review)
The Death Of England sequence by Clint Dyer and Roy Williams has had an interesting history. Starting life as a ten-minute microplay film courtesy of the Royal Court.
‘After The Hairy Ape, I approached this with a degree of trepidation’: ANNA CHRISTIE (Online review)
Anna Christie, which predates The Hairy Ape, won the 1922 Pulitzer prize for drama and therefore had to have something going for it.
‘Great writing can be interpreted & reinterpreted in any number of ways’: CONSTELLATIONS – Donmar Warehouse (Online review)
There’s a world (indeed, a universe) of possibilities in this intriguing play about decisions and repercussions.
‘A fine octet of actors work well as an ensemble’: INTO BATTLE (Online review)
Remembrance Day seemed a perfect moment to review a production set just before and during the First World War, Hugh Salmon’s finely rendered Into Battle.
‘Listen in a darkened room’: BLIND – London Horror Festival (Online review) ★★★★
Halloween season is once more upon us and the London Horror Festival has plenty of macabre productions to satisfy the most dedicated aficionado. One show that stands out from the rest online is Blind by Ryots Productions.
‘The power to make memories is fundamental to being human’: TIMELESS (Online review)
Following a brief run at London’s The Space and ahead of a tour, Brian Coyle’s 2018 one-man play Timeless was made available as an on-demand stream.
‘Sombre mood, visual distortions, intense emotions’: THE HAIRY APE — Online
I remember a student I was once trying to get to read more saying “What’s the point, there are just too many books”. Perhaps I’m beginning to have the same reaction to digital theatre – there’s so much more of it out there than I had ever anticipated and although I think I can claim I’ve covered a fair amount of ground there is still plenty to get to grips with.
‘Deals with some important issues’: MY BOY DANNY (Online review)
New online theatre material keeps popping up all the time – or at least it eventually comes to my attention which amounts to much the same thing; this latest one did so by a somewhat circuitous route. My Boy Danny played at this year’s recent Camden Fringe as an online stream, but I managed to muddle the dates and therefore missed it.
‘Far from the traditional’: SLEEPING BEAUTY ‘DREAM ON’ – Chickenshed Theatre (Online review)
It’s been a while since I’ve reviewed one of the many shows which youth theatre Chickenshed put out during the pandemic. In fact, their last released piece came out in May so apologies to them for getting to this so late on. As with some of their previously released pieces it’s one of their boldly reinvented Christmas shows, this time from 2012.
‘The Greek legend is more or less intact’: ORPHEUS (Online review)
The Greek myths have endured across the centuries partly because they are timeless stories that can be endlessly updated and reinvented.
‘There’s a musical theatre dream team’: CLOSER THAN EVER – Broadway HD (Online review)
As it’s a recorded stream, you’re at liberty to choose your own encore moments and replay any numbers which particularly take your fancy – and there are bound to be several of those.*
‘Innovative & intriguing piece of theatre making’: CAN I LIVE – Complicité (Online review)
The twin themes of social justice and climate activism are explored in this piece from Fehinti Balogun/Complicité.
‘In the tradition of the choose your own adventure books’: THE RIME OF THE SECOND SISTER / FOUND – Online
Do these two pieces push the idea of audio theatre to its limits? Probably and the results are highly pleasing
‘Just don’t expect your journey to be a comfortable one’: THE CONTAINER – Young Vic / Digital Theatre (Online review)
Site specific theatre hasn’t been easy over the last eighteen months – in fact you can take out the first two words of that statement. It’s been tricky enough getting regular venues open, let alone some of the more esoteric settings which were used before you know what kicked off. A production that it would probably be almost impossible to revive now is Clare Bayley’s The Container which happened at the Young Vic in 2009. Set in an actual shipping container near to the theatre it allowed for just 28 audience members each time crammed onto uncomfortable benches around the perimeter with a narrow central strip for the 6 performers to use. 34 bodies in close proximity packed into a metal box with no sense of social distancing and not a mask to be seen; even Covid deniers might baulk.
‘A vivid snapshot’: THE COVID-19 TRILOGY (Online review)
It was just about a month ago that I observed that considering the dominant story of all our lives for the last 18 months has been the pandemic, there haven’t really been all that many direct responses to it in the form of theatre pieces. A new addition to the Scenesaver platform looks to rectify that particular shortfall with three monologues about individual experiences and response. Called starkly The Covid-19 Trilogy it comes from Elysium Theatre Company which is based in Durham. During the pandemic they released two sets of five monologues and the three pieces in this set are taken from these. Presumably they are a “best of” collection to whet the appetite; the rest are available on the company’s You Tube channel
‘Gentle, life-affirming production’: Around The World In 80 Days – Theatre Royal, Bury St Edmunds (Online review)
Around The World In 80 Days is best known for the iconic 1956 David Niven film rather than the original novel by the prolific French writer Jules Verne; this version seeks to restore the original storyline to the centre of the narrative but does so with one playful eye on the theatrical possibilities where much is left to the audience’s imagination.