The National Theatre’s Lyttelton stage has been transformed with steps and terraces around the performance space, creating a look that is a cross between an ancient greek theatre and a fighting pit. Before the play starts, images of past productions of Othello and the year they were performed are projected onto the steps and back wall as a reminder of the story’s timelessness.
Othello at the National Theatre is a production that has thought very carefully about the things it wants to say and, particularly, what Othello has meant at different points in its performance history. Clint Dyer’s perspective is not on fire just yet but it soon will be, bringing a meaningful reflection on Shakespeare’s tale to the stage while clearly distinguishing it from all of those that have come before.
Amy Adams, already an acclaimed and multi Oscar-nominated film actor with some notable stage experience in the US, makes her West End debut in Jeremy Herrin’s new version of The Glass Menagerie.
Amy Adams’ Amanda is a matriarch full of bustle and bristle in Jeremy Herrin’s production of The Glass Menagerie at the Duke of York’s Theatre. She is an irritating spark to her despondent and bored son and pushes her shy, nervous daughter Laura further into her own world. And, she is such a spark that you feel Amanda’s absence when she is on stage.
Six-time Academy Award nominated actress Amy Adams will make her West End debut in a new production of Tennessee Williams’ celebrated memory play The Glass Menagerie, the debut production from Second Half Productions, a new entertainment company founded by Jeremy Herrin, Alan Stacey and Rob O’Rahilly.
Stephen Daldry has been nominated in the Best Director category for his staging of Matthew Lopez’s The Inheritance, originally at London’s Young Vic Theatre before its West End transfer to the Noel Coward Theatre. The Olivier Award-winning play which transferred to Broadway in November 2019 received 11 nominations.
What may have worked as a leisurely memoir, consumed over a period of a few weeks, fails to ignite in Vanessa Redgrave’s Vienna 1934-Munich 1938.
Jonathan Church, artistic director of Theatre Royal Bath’s summer season, has announced further productions and new casting for the 2019 programme. Katherine Parkinson joins Rupert Everett in the cast of Uncle Vanya which he also directs.
Sweeping in scope, yet intimate and highly personal in detail, Matthew Lopez’s masterwork The Inheritance balances humour, history and heartbreak to haunting effect.
The Inheritance at the Noel Coward Theatre has been rightly lauded as a major piece of 21st-century theatre and Lopez has a gift for crafting argument and dialogue with sensitivity and innate understanding.
It would be hard to imagine a play about young gay lives that speaks more eloquently to older gay men than the moving, informative and often hilarious The Inheritance now transferred to the Noel Coward Theatre.
After a scorching run at the Young Vic, Matthew Lopez’s The Inheritance makes a well-deserved transfer into the West End.
The West End transfer of Matthew Lopez’s modern masterpiece The Inheritance, nearly seven hours of epic storytelling, is a phenomenal play which sold out when it first opened at London’s Young Vic earlier this year.
Full casting has been announced for the highly-anticipated West End transfer of the Young Vic production of The Inheritance, the new play by Matthew Lopez which will run for a strictly limited season, previewing at the Noël Coward Theatre from 21 September 2018 and opening on 13 October.
Directed by multi Olivier Award winner Stephen Daldry, the Young Vic production of The Inheritance by Matthew Lopez will transfer to the West End, playing a limited season at the Nöel Coward Theatre from 21 September 2018 (opening on 13 October).
In its incorporation of Howards End and the conversation between its fictional literary inspiration and its contemporary – Matthew Lopez – The Inheritance manages to create something wholly fresh and original about denial, truth and progress.
It would be hard to imagine a play about young gay lives that speaks more eloquently to older gay men than the moving, informative and often hilarious The Inheritance at the Young Vic.
The Inheritance is a brave and epic piece of new writing from Matthew Lopez, taking a scalpel to contemporary gay life in New York, asking what does it mean to be a gay man today and just how much of that is owed to an inherited (and neglected) cultural legacy.
As well as being a damn clever meditation on the creative process, the writing in The Inheritance is also emotionally searing, nuanced and consistent, never glib or rushed.
The question that always needs to be asked of any example of science on stage, and there are now very many, is this: does the science add anything to the meaning of the play?
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