Mark Shenton views the week of news, openings & upcoming awards… in the West End, Broadway & beyond.
David Greig’s triumphant version of Aeschylus arrives in London trailing banners of glory.
Across 25 centuries comes a harsh cry: not of war, not from savage male throats but from a swaying, chanting, defiant chorus of young women demanding, in the name of the gods and of humanity, freedom, asylum and choice.
Living with the lights on is centred around my time at the Royal Shakespeare Company in 1995. It was there that the odd and bizarre began happening to me and I had no idea what, why or how to stop it. I was going really well as a successful young actor. Then things began to fall apart.
A day or so after Theresa May’s keynote speech about Brexit the words Europe and European carry an electric charge. For Leavers, they represent the evil empire; for Remainers, a world we have lost. In this context, seeing a play by Germany’s most performed playwright feels more than usually significant.
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.
Impressive and timeless: Poetic, political and dramatic, David Greig’s new version of The Suppliant Women by Aeschylus is a striking statement of intent.
First seen in 2013, this new revival of Gerald Barry’s opera based on the classic Oscar Wilde’s great play directed by Ramin Gray enhances the comedy both physically and interpretations of Wilde’s classic lines – despite some sound issues.
Monologue about an acute manic-depressive episode is both vividly experiential and unforgettably informative.