If some of the detail of Mike Bartlett’s Cock now feels a little dated, the skill of his writing is as fresh as ever, performed brilliantly at the Ambassadors Theatre.
Watching Mike Bartlett’s play Cock today, it seems strange to think that it was actually written 13 years ago, as it covers themes that are so resonant with life in 2022.
Mike Bartlett’s Cock invites suggestive comments, but the main thing about the play is that it has proved to be a magnet for star casting.
Theatre has always been a place to explore identity by using different character perspectives to consider points of view, social structures or inherited notions of what an individual can and should be.
The Death Of England sequence by Clint Dyer and Roy Williams has had an interesting history. Starting life as a ten-minute microplay film courtesy of the Royal Court.
One of the absolute highpoints of new writing in the past couple of years has been the Death of England trilogy.
Taron Egerton, Jonathan Bailey, Jade Anouka and Phil Daniels will star in C O C K, the first West End production of Mike Bartlett’s Olivier Award-winning play about love and identity.
The plotline of James Graham play covers several years during a period when majorities were slim and politics was a brutal business.
A Very Very Very Dark Matter lacks the coherence and pleasing culmination of the playwright’s other works. Despite the ‘upbeat ending’, this play displays none of Martin McDonagh’s trademark pitch-black farce.
Martin McDonagh is a good writer. I have to state this because based on this production of A Very Very Very Dark Matter at the Bridge Theatre audiences may not be so convinced.
A Very Very Very Dark Matter is perhaps the least complete of his works for the stage, but its fierce anger and gleeful South Park-style offensiveness makes it unlike anything else on a stage right now, in London or anywhere else.
I’m fairly sure the land on which the Bridge Theatre was built was once a plague pit, but I’m beginning to wonder if the place isn’t itself cursed. How else can it commission a play by Three Billboards Outside Ebbing, Missouri writer Martin McDonagh that is, not to put too fine a point on it, as enjoyable as passing A Very, Very, Very Painful Stool? For an hour and a half.
Matthew Dunster directs Martin McDonagh’s new play A Very Very Very Dark Matter at the Bridge Theatre. Love London Love Culture rounds up the reviews…
Having seen the Bridge Theatre’s latest, Martin McDonagh’s A Very Very Very Dark Matter, my bonkers quota is through the roof.
Very very very feeble: Martin McDonagh’s latest play, A Very Very Very Dark Matter at the Bridge Theatre, is poorly written, self-plagiarising and lacks imagination.
Martin McDonagh’s new play is a (very) dark fairytale with colonial undertones. Who else’s imagination could put Hans Christian Andersen (Jim Broadbent), a one-legged black pigmy woman called Marjory (Johnetta Eula’Mae Ackles) and two bloody, time-travelling Belgian twins in the same story?
Casting has been announced for the world premiere of Martin McDonagh’s A Very Very Very Dark Matter at the Bridge Theatre, previewing at the Bridge Theatre from 12 October 2018 with an opening night on 24 October. The 12-week run will conclude on 6 January 2019.
Johnetta Eula’Mae Ackles, Elizabeth Berrington and Phil Daniels will join the previously announced Jim Broadbent in the world premiere of Martin McDonagh’s A Very Very Very Dark Matter.
Newly adapted by David Edgar, this new production of Dr Jekyll & Mr Hyde has plenty of chilling moments but doesn’t quite make a strong enough impact overall.
You know what time of year it is – so I’ve just been through my annual Mind the Advent countdown! As I’ve seen a personal best number of different shows this year, the sheer volume of actors (and performances) have really been stacking up and making my life difficult – in terms of summing up my favourites of the year, that is. So here is a bit of a sneak preview of what’s to come in my highlight posts…
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