Writer/director Jack McNamara’s clever play The Boss Of It All remorselessly targets the ineptitude of the governing classes and, along the way, takes some delightful pot shots at the pretensions of a certain type of actor.
The third of the Old Vic’s ‘In Camera’ live streamed performances is Brian Friel’s 1979 play Faith Healer, often described as his masterpiece.
This version of Look Back in Anger is from 30 odd years later and was mounted by Renaissance Theatre, then a relatively new company formed by a young Kenneth Branagh. The play was directed by Judi Dench, his is a made for television re-creation from 1989.
The Bridge Theatre’s most savvy decision is in teaming The Shrine with Bed Among the Lentils, placing together two of our finest actors who effortless and regularly transition between stage and screen – Monica Dolan and Lesley Manville.
Magnificently played and realised by Maureen Lipman, Martin Sherman and Scott Le Crass, Rose is well worth viewing.
Good things come to those who wait, an axiom that applies in duplicate to Stephen Beresford’s latest play Three Kings screened via the Old Vic’s innovative In Camera series for just five performances.
John Chapman ties up a few loose ends by catching up with short play/film Shielders as part of the Traverse Theatre Festival and the live stream of Stephen Beresford’s play Three Kings, starring Andrew Scott and streamed from The Old Vic.
Two one act plays – For Quality Purposes and The Ockenden Witch – have a great deal to say about modern life – even if one is set in 1564!
The first short play is Beat the Devil in which David Hare stakes first claim to what will surely be a new genre or at least a familiar theme in the coming months – the Covid monologue.
Daniel Bye’s The Price Of Everything is first and foremost a theatrical piece which examines the function of narrative and makes us question the veracity of what we hear.
There is some very promising writing talent on show in the Traverse Festival, and it is done justice both by the standard of performance and production from the venue.
Though the Playboy of The Western World may have been written in 1907 it still has clear resonances for the world today.
Both At Home With The Brontës and Wasted have their plus points and it is interesting to see how the same subject matter can be treated in radically different ways.
For my first Edinburgh Festival “visit” last week, I found myself following a theme (more by accident than design) but this week I thought I’d freeform it a bit more. After all that’s what the Fringe is all about, isn’t it? Picking stuff at random, seeing what takes your fancy, taking a punt on something new. Except it didn’t quite work out like that….
Small Truth Theatre have reimagined their unique site as an online digital space and are currently presenting a season of three audio dramas of around 15 minutes each under the general title of Digital Caravan Theatre.
If anything, the resonances in Mike Bartlett’s Albion have grown and strengthened as countrywide divisions have hardened.
The series of monologues under the collective title The Greatest Wealth was first performed at The Old Vic Theatre in 2018 as part of the celebrations for the 70th anniversary of the founding of the NHS.
Jesus Christ Superstar at Regent’s Park Open Air Theatre may say concert on the poster but there is singing, dancing, performing and storytelling nine shows a week.
While an online Edinburgh Festival Fringe can hardly claim to have anything like the same degree of atmosphere, various organisers are to be congratulated with getting a variety of material online.
Ben and Max Ringham’s work for Blindness is a masterpiece, a 70-minute performance that layers story, sound effects, music and lighting design to immerse the audience in a pandemic experience.