Amy Berryman’s ambitious debut play Walden about siblings, climate change and space travel is full of ideas, but what happened to the emotions?
Three Sisters at the National Theatre, Uncle Vanya at the Harold Pinter and The Seagull at the Playhouse Theatre have all taken very different approaches to reworking Chekhov, bringing fresh insight and relevance to a writer whose plays have often felt rather dry.
There is a winning combination of the playful and the profound in Barber Shop Chronicles which allies serious stagecraft and knowledge to sheer enjoyability.
Gripping performances from Clive Owen and Lia Williams, and James Macdonald’s slow-burn direction allows Tennessee Williams’ writing in The Night Of The Iguana to cast its spell.
It could all go horribly wrong but Ian Rickson’s production of Rosmersholm in Duncan Macmillan’s new adaptation brings Ibsen’s dense moral and political tragedy safely into port.
Most importantly Ian Rickson’s gripping production of Rosmersholm suggests that great female roles are to be found among the classics if only we look hard enough.
If there is a good argument for remembrance, and there is an equally good one for forgetting, what you can never forget is the War Horse experience.
There is a peculiar absence of majesty at the heart of the National Theatre’s touring production of Macbeth.
So there’s a real feeling of anticipation about this revival of his 1980 drama, Translations, a major play which has enjoyed an enormously good international reputation since its first staging at the Guildhall in Derry, Northern Ireland.
It is rare to find a show so good-natured and yet ominous and academic, all at the same time. Come for the raucous humour, stay for the dramatic, dirty colonialism and the lesson in the pros and cons of multilingualism. Translations is beautiful and daring, go see it.
As Ireland moves into a new era, Brian Friel’s play remains at the heart of debate – how can a country maintain its essence while embracing the modern world?
Nightfall is a subtle affair that is funny and quietly affecting – the production is beautifully designed and features some outstanding performances.
Macbeth at the National Theatre is a dystopian look at one of Shakespeare’s most well-known plays, ushering in a new dark age in the aftermath of civil war – Anne-Marie Duff and Nicholas Karimi truly lead the way with compelling performances.
Nightfall, a sensitive play about the impact of grief on one family’s life, might be slow to unravel but is completely relatable and engaging.
There was a 15-minute delay to the commencement of Nightfall on the occasion of this review, with an actor delayed on public transport. Sadly that delay was all too short, as what followed was a play that promised so much but delivered little more than poorly performed pretensions.
Named as one of the 1,000 most influential Londoners by the Evening Standard, Barney Norris’ latest play, Nightfall, has just opened at the very high-profile Bridge Theatre.
The touring production of War Horse at the Festival Theatre is involving, emotional, visually spectacular and every bit as good as you have probably heard.
Although This House was written in 2012, the cyclical nature of politics means that the play is just as relevant now, with a Government attempting a major democratic change on a tiny majority, having to make unholy alliances just to get things done.
The politics may be clumsy but the acting is beautiful at the National Theatre. Make no mistake, Rory Kinnear is a magnificent Macbeth.
Here at the National, as with many other attempts, the production’s vision lacks real purpose and fails to engage with the complex motivation of Macbeth himself, leaving him and us nowhere to go.
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