One bespectacled, anxious-looking Virginia Woolf in a sensible brown skirt and dreary cardigan is never enough, so Michael Grandage’s production of Orlando at the Garrick Theatre generously opens with a whole pack of Woolfs – nine of them – in Neil Bartlett’s new version of the author’s classic whimsical-feminist fantasy.
‘Definitely a show that’s been revived at the right time’: ORLANDO – Garrick Theatre ★★★★
Thought to be inspired by Virginia Woolf’s romance with Vita Sackville-West, Orlando depicts a boisterous protagonist whose journey spans five centuries and two genders. Its awareness of gender politics and expectations as well as the way is defies them is really something special, and it’s astounding that Woolf wrote such a groundbreaking piece of work in 1928 and that it remains so relevant now.
‘This is an Orlando any Woolf would gobble up’: ORLANDO – Jermyn Street Theatre ★★★★★
This jolly adaptation of Virginia Woolf’s Orlando by Sarah Ruhl, directed con brio by Stella Powell-Jones, is a 90-minute treat and holiday too.
ORLANDO – Edinburgh
This is the story of the forever young Duke Orlando who wakes from a deep, trancelike sleep to discover that he is now a she. Neither ageing naturally nor staying the same gender for long, it’s as if Dr Who had found himself taking a walk on Lou Reed’s wild side.
ORLANDO – Edinburgh
This is the story of the forever young Duke Orlando who wakes from a deep, trancelike sleep to discover that he is now a she. Neither ageing naturally nor staying the same gender for long, it’s as if Dr Who had found himself taking a walk on Lou Reed’s wild side.