If the intimate play A Number feels a bit lost in the vast space of the Bridge, the performances are big enough to give it the required punch.
‘Short but superb’: A NUMBER – Bridge Theatre
A Number packs a lot of themes, meaning and ideas into just an hour of stage time in a production that asks big questions about scientific progress.
NEWS: Sherlock creators Steven Moffat & Mark Gatiss collaborate in Chichester Festival Season packed with world premieres
World premieres in Chichester Festival Theatre’s Festival 2020 include first plays by Steven Moffat and Kate Mosse and new work by Suhayla El-Bushra and Christopher Shinn.
NEWS: New shows at Bridge Theatre star Roger Allam, Colin Morgan & Simon Russell Beale, plus The Book of Dust & They Shoot Horses, Don’t They
New 2020/2021 productions at London’s Bridge Theatre will begin with Polly Findlay directing Roger Allam and Colin Morgan in Caryl Churchill’s play A Number at London’s Bridge Theatre.
‘Worthy but certainly not revelatory’: RUTHERFORD & SON – National Theatre
Revival of Githa Sowerby’s 1912 classic of industrial patriarchy Rutherford and Son is worthy but rather cumbersome and inaccessible.
REVIEW ROUND-UP: Rutherford & Son at the National Theatre
Love London Love Culture rounds up the reviews for Polly Findlay’s production of Rutherford & Son at the National Theatre starring Roger Allam.
‘Beautifully well-observed character study of a dynasty under threat’: RUTHERFORD & SON – National Theatre ★★★★
Githa Sowerby used her own upbringing as the daughter of a Tyneside glass-making family for her breakthrough play, Rutherford and Son, but whether her father was as cold, insensitive and bullying as patriarch John Rutherford is open to speculation.
‘If this show is saved at all, it’s by some of the acting’: RUTHERFORD & SON – National Theatre
Rutherford and Son is not my cup of tea. The acting does just about salvage it, or at least stop it from being a complete disaster, but it’s not enough.
‘A new-century’s howl of irritated perception at the imprisoning absurdities of society’: RUTHERFORD & SON – National Theatre ★★★★★
Psychology, social rage, human sadness and betrayal move in an elegant circle in Rutherford & Son at the National Theatre and Findlay’s direction doesn’t miss a beat of it.
NEWS: National Theatre announces new season including cast of 40 for stage adaptation of Andrea Levy’s Small Island
Gershwyn Eustache Jnr, Leah Harvey and Aisling Loftus lead the cast of Small Island, adapted by Helen Edmundson from Andrea Levy’s prize-winning novel, directed by Rufus Norris in the Olivier Theatre, as part of the National Theatre’s new season.
‘A great production of a chilling play’: MACBETH – Barbican Theatre
This is a Macbeth that emphasises the psychological horror of the story. It is a brutal and murderous play, but priority is given to the effects of the violence rather than the violence itself.
‘Falls a little flat in pivotal places’: MACBETH – Barbican Theatre ★★★
This Macbeth should be an absolute blinder with such a strong and perfectly brooding lead… but unfortunately, the production falls a little flat in pivotal places.
‘Scattershot invention includes some effective touches’: MACBETH – Barbican Theatre
In contrast to Rufus Norris’ Macbeth at the National, with Rory Kinnear and Anne-Marie Duff, the RSC’s current production is focused and direct. This ensures that it is more of a success, but also proves its weakness. Polly Findlay’s production is certainly the more coherent and features strong leads.
NEWS: National Theatre’s new season features Andrea Levy’s Small Island, Caryl Churchill’s Top Girls & Lenny Henry as Richard Pryor
Rufus Norris has unveiled the National Theatre’s plans for 2019 and beyond. Highlights include the world premiere of Small Island adapted by Helen Edmundson from Andrea Levy’s novel, directed by Rufus Norris.
‘Surely, this is the crème de la crème of Brodie adaptations’: THE PRIME OF MISS JEAN BRODIE – Donmar Warehouse
Polly Findlay’s fluent production of The Prime of Miss Jean Brodie avoids the fluting exaggerations of some previous versions and tells the story with a fine appreciation of its grounding in the needy emotions of all concerned.
‘Eclipses any version of this story you may have seen before’: THE PRIME OF MISS JEAN BRODIE – Donmar Warehouse
It’s a short run at the Donmar – take any available ticket, Polly Findlay’s splendidly-cast and nimbly directed production is a must-see. And let’s hope it has a longer life somewhere else.
‘A great revival giving much food for thought’: THE PRIME OF MISS JEAN BRODIE – Donmar Warehouse ★★★★
Findlay’s finely tuned production is full of nuance and provides a singular, emotive finale in which responsibility, influence, life choices, aspiration and limitation are all beautifully conveyed within Miss Brodie herself and her relationship with her “gerls”.
‘A great revival giving much food for thought’: THE PRIME OF MISS JEAN BRODIE – Donmar Warehouse ★★★★
Findlay’s finely tuned production is full of nuance and provides a singular, emotive finale in which responsibility, influence, life choices, aspiration and limitation are all beautifully conveyed within Miss Brodie herself and her relationship with her “gerls”.
‘An enjoyable & distinct adaptation’: THE PRIME OF MISS JEAN BRODIE – Donmar Warehouse
A hundred years since the birth of novelist Muriel Spark, her 1961 tale The Prime of Miss Jean Brodie has been adapted for the Donmar Warehouse by Blackbird playwright David Harrower and directed by Polly Findlay.
‘Visually enticing’: MACBETH – Royal Shakespeare Theatre, Stratford upon Avon ★★★
Polly Findlay pulls out all the stops for her visually enticing production of Macbeth for the Royal Shakespeare Company.