This feels like a howl of baffled frustration, from a millennial generation unable to deal with the emotional legacy of a long-ago slave trade.
On LoveLondonLoveCulture, Emma Clarendon rounds up the reviews for Polly Findlay’s European premiere production of White Noise, by Pulitzer Prize-winning US playwright Suzan Lori-Parks.
If you’ve been starved of productions to make you think, Copenhagen at Mayflower Mast Studios, Southampton is an excellent way to ease yourself back into a stalls seat and re-engage your brain.
Simon Russell Beale will play JS Bach in the world premiere of Nina Raine’s Bach & Sons, directed by Nicholas Hytner at the Bridge Theatre from 23 June to 9 September 2021 with opening night on 29 June 2021.
Casting has been announced for the first two plays in the Theatre Royal Bath’s WELCOME BACK Season this autumn, running from 14 October to 12 December 2020. Two of the country’s leading actresses, Nancy Carroll and Haydn Gwynne, are joined by a distinguished cast of experienced stage and screen performers.
Theatre Royal Bath will reopen its main house in autumn 2020 with the Welcome Back Season of plays, beginning with Harold Pinter’s Betrayal directed by Jonathan Church from 14 October to 31 October, followed by Michael Frayn’s Copenhagen, directed by Polly Findlay from 4 November to 21 November, and lastly David Mamet’s drama Oleanna directed by Nicole Charles which will run from 25 November to 12 December.
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.
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.
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.
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.
Revival of Githa Sowerby’s 1912 classic of industrial patriarchy Rutherford and Son is worthy but rather cumbersome and inaccessible.
Love London Love Culture rounds up the reviews for Polly Findlay’s production of Rutherford & Son at the National Theatre starring Roger Allam.
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.
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.
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.
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.
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.
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.
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.
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.