Joe Orton had been dead six years when Alan Bennett’s 1973 Habeas Corpus made its West End debut in a production starring Sir Alec Guinness.
Ruth Wilson is strong casting in the central role with a, for once, restrained Ivo van Hove directing.
Alan Bennett’s Habeas Corpus gets a belated revival at the Menier Chocolate Factory. Stuck in the past, should it have been left in the past too?
The Lyric Hammersmith Theatre has announced its 2022 Season, including work by Mike Bartlett, Roy Williams, Patrick Marber and Timberlake Wertenbaker.
Tom Stoppard’s Leopoldstadt, directed by Patrick Marber and produced by Sonia Friedman Productions, will return to London’s Wyndham’s Theatre for a 12-week run from 7 August to 30 October 2021.
We round up the reviews for Tom Stoppard’s latest play Leopoldstadt, receiving its world premiere at the Wyndham’s Theatre.
Tom Stoppard’s personal story in Leopoldstadt sees the writer return to form as a commentator of cultural, social and historical patterns.
The Menier Chocolate Factory has announced the forthcoming two productions – the European premiere of Paula Vogel’s Tony Award-winning play Indecent, directed by Rebecca Taichman; and Alan Bennett’s Habeas Corpus directed by Patrick Marber, who returns to the Menier following his hit production of Tom Stoppard’s Travesties.
Final casting is announced today for the world premiere of Tom Stoppard’s new play Leopoldstadt.
Initial casting has been announced for the world premiere of Tom Stoppard’s Leopoldstadt, directed by Patrick Marber, along with a four-week extension to the run.
Sonia Friedman Productions has announces the world premiere of Leopoldstadt, a new play by Tom Stoppard, directed by Patrick Marber.
Rapture Theatre shoots, and scores, in Red Lion, a soccer drama by Patrick Marber that even non-sports fans will love.
In just six months, Jamie Lloyd’s creative team and ever-changing company of actors has utterly transformed our perspective on Harold Pinter.
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.
Exit the King’s interest in the crumbling of a kingdom is relevant, and I found its musings on death – and Anthony Ward’s visual representation of this – emotionally affecting.
Adapted from Eugene Ionesco’s French absurdist comedy by Patrick Marber (who also directs), Exit the King, in a nutshell, tells the story of the death of the titular King, who’s told he must die and then does, in real time. It’s no more interesting than I’ve made it sound.
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.
This final sequence of Exit the King is mesmerising. The self-indulgent waffle and navel-gazing that makes up the rest of Marber’s production? No thanks.