A very interesting programme article will tell you the difference between the multiple takes (the National’s programmes remain the most informative and best value for money in the capital) but what audiences really need to know is that this is very much Simon Stone’s Phaedra, and he has once again done what he effected upon Lorca’s Yerma at the Young Vic then subsequently in New York in 2016-7.
Simon Stone turns his attention to another important literary woman, Phaedra as imagined by Euripides, Seneca and Racine and given a modern retelling in a production at the National Theatre written and directed by Stone. Stone’s vision for Phaedra is riveting in a piece that explores mature sexuality, fantasy and generational competition between mother and daughter.
Is God female? It says a lot about Yaël Farber’s pompous and overblown new version of this biblical tale at the National Theatre that, near the end of an almighty 110-minute extravaganza, all reason seemed to have vacated my brain, and its empty halls, battered by a frenzy of elevated music, heaven-sent lighting and wildly gesturing actors, were suddenly open to the oddest ideas.
Fresh from taking the Barbican by storm (again) with Roman Tragedies, Ivo van Hove and Toneelgroep Amsterdam will be returning to London next month with a version of Luchino Visconti’s 1943 film Obsession.
“Labour is fucked!” roars Goodman-Hill’s Owen to open Limehouse. And the next hour and forty minutes watching the Gang of Four debate ideologies, divided loyalties and political contexts, including the hard-left’s anti-EU stance, leave you in no doubt just how relevant the play is to the party’s woefully position today.
Here they are again, `Woy’ Jenkins, Shirley Williams, Bill Rodgers and a whirling dervish of a David Owen. But for the rest of us, Steve Waters has done us great and entertaining service in reviving memories of that moment in British political history in 1981.
Politics is a serious business, but it’s also a fun spectator sport. Think of the duels in Prime Minister’s Questions; or the marathon that is Brexit.
Roger Allam and Tom Goodman-Hill join the cast of Limehouse, Steve Waters’ new play about the 1981 Labour Party split, which premieres at the Donmar Warehouse in March.
Artistic Director Josie Rourke and Executive Producer Kate Pakenham announce today the Power Season at the Donmar Warehouse. This spring season includes a new play by Steve Waters examining the 1981 split in the Labour party; a revival of The Resistible Rise of Arturo Ui starring Lenny Henry; and a new musical with book and lyrics edited from the transcript …
A MAGICAL GLADE OF OFFICE FURNITURE…
Of all Shakespeare’s comedies, this is the one which most combines memorable lines – the seven ages of man, Rosalind’s quickfire epigrams about love – with a defiantly absurd plot and a rejection of every probability except that of young love.
The live broadcast of The Vote from the Donmar Warehouse on More4 (Thursday 7 May 2015) attracted an audience of more than half a million, peaking at 555,000 viewers during its election night broadcast. This is the highest figure for a Donmar Warehouse production – with the previous record of 180,000 being set by Josie Rourke’s production of Coriolanus broadcast …
Twelfth Night is generally classified as one of Shakespeare’s comedies, but last week it officially became a history play as well, after its phenomenal haul in this year’s Tony Awards nominations. Mark Rylance is already something of a Tony legend. He has won Best Actor twice for two other London transfers –1960s farce Boeing-Boeing in […]