It has been a long time since the West End saw a truly great Macbeth so perhaps this is a chance for Simm and Kirwan to buck the trend with impressive performances that offer a different perspective on their characters while creating a potency in their exchanges that is never less than compelling.
See this production of Macbeth for those masterful central performances, they’re more than worth the price of admission, even if so much of the rest is “full of sound and fury, signifying nothing!”
Chichester Festival Theatre’s production of Shakespeare’s famous tragedy Macbeth, led by John Simm and Dervla Kirwan as the corrupted couple, marks a homecoming for director Paul Miller.
Long-overdue revival of a wartime classic, Terence Rattigan’s While the Sun Shines offers an evening that is full of hilarity and insight.
Chichester Festival Theatre’s Festival 2019 has been announced by artistic director Daniel Evans. It includes John Simm & Dervla Kirwan in Macbeth, Hugh Bonneville in Shadowlands & Tim Firth’s first solo musical starring James Nesbitt.
The chaise longue has been dug out of storage for this re-imagining of William Congreve’s 1693 marriage farce The Double Dealer at the Orange Tree Theatre.
Losing Venice at the Orange Tree Theatre is a remarkable rediscovery by this ever-enterprising venue and is a well-crafted and elegantly written curiosity.
Joe White’s play Mayfly is telling us please, hang on. So much can happen in a day. And the most surprising acts of kindness and generosity can come from the most unsuspecting of sources.
Under the tenure of Paul Miller, the Orange Tree Theatre has shown a fierce commitment to new writing, but Joe White’s Mayfly is the first debut play to be staged there since Miller’s ascendancy, and it’s easy to see why it made the cut.
Joe White’s debut, Mayfly, is a family play that although marketed as “ethereal” is actually much more rooted than that. It also expresses a deep sense of loss. And, with its title in mind, shows how some things can change in a single day.
Humble Boy is a play about life and about families, about how nothing can be certain no matter how hard we try. Not all our ambitions and hopes will be rewarded with stars and recognition. And it is a masterclass in writing from Charlotte Jones.
Characterised by black humour, loopy writing and good acting, Humble Boy at the Orange Tree Theatre combines laugh-out-loud delights with a quietly moving ending.
George Bernard Shaw was a theatrical superman. A critical attack dog as well as a creator of problem plays both pleasant and unpleasant, he invented the drama of ideas.
Continental drama, in this era of Brexit negotiations, seems to be rarer and rarer on British stages. But, luckily, there are some venues which buck this parochial trend.
There is something exquisitely philosophical and European about Lot Vekemans’ approach, at once logical and precise as she moves her two-hander from a point of unresolved conflict and outright hostility to, if not complete reconciliation, at least a peace-making.
Claire Price and Zubin Varla star in the UK premiere of Dutch hit play Poison at London’s Orange Tree Theatre in November.
This is phenomenal. And pretty wild. Branden Jacobs-Jenkins’s An Octoroon is the most intelligent and most theatre-savvy play on today’s London stage: it is a satire on staging race, an account of black identity, a criticism of plantation life, a celebration of genre fun and a tribute to a forgotten work from the Victorian era.
Paul Miller announces the remaining productions in his third season as Artistic Director of the Orange Tree, which will include the UK premiere of Pulitzer Prize nominee Branden Jacobs-Jenkins’ OBIE Award-winning ‘pertinent new play about race’ An Octoroon, directed by Ned Bennett.
The new spring season for the Orange Tree Theatre in Richmond, south London, features plays by Robert Holman, Chris Urch, Brad Birch and Bernard Shaw, directed by Ellen McDougall, Alice Hamilton, Mel Hillyard and Artistic Director Paul Miller. Artistic Director Paul Miller announces the January to June 2016 season at the Orange Tree. It follows a year of award-winning theatre …
Over the past quarter century the reputation of toff playwright Terence Rattigan has been restored, mainly by strong stagings of his classic dramas, such as Deep Blue Sea. But his first smash hit, French Without Tears, has been the unicorn of his output — often talked about, often mentioned, often remembered, but never actually seen. Now Paul Miller, the ever-enterprising artistic director of the Orange Tree, has brought this unicorn into public view, allowing audiences to enjoy a joyful sighting of a rare beast.
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