Robert Icke’s final production for the Almeida, after spectacular successes including Mary Stuart, Andrew Scott’s Hamlet and The Wild Duck, is a complete reworking of a play by Arthur Schnitzler. He rips the original play, Professor Bernhardi, out of its turn-of-the-century Vienna setting, and drops it into the information age in The Doctor.
Love London Love Culture rounds up the reviews for Robert Icke’s final production as associate director at the Almeida Theatre, The Doctor.
In The Doctor at the Almeida Theatre Juliet Stevenson is mesmerising in a brilliantly written ethical debate that is both thrilling and challenging.
Rebecca Frecknall’s rich production of Three Sisters takes place in a bubble of unreality, both alluring and doomed to burst.
The Almeida Theatre has announced a new play written and directed by Robert Icke called The Doctor, freely adapted from Arthur Schnitzler’s 1912 play Professor Bernhardi, featuring Juliet Stevenson and Ria Zmitrowicz.
The achievement of Rebecca Frecknall’s new production, as with her recent mega success with Tennessee Williams’ Summer and Smoke is to speak to modern sensitivities with a clarity of vision that struck this viewer anyway as turning Three Sisters into a young person’s rite of passage.
Chekhov classic from the team behind the West End hit Summer and Smoke is too middle of the road
The post Three Sisters, Almeida Theatre appeared first on Aleks Sierz.
After the interval, The Three Sisters, mercifully, in mood and pace, could be a different play. I left happy enough. But goodness, the first scenes badly need more vigour. And a trim.
It is a vibrant and meaningful interpretation of Chekhov’s Three Sisters that reaps rewards. Keep on an eye on this new theatre partnership, it could be around for many years to come.
Following Rebecca Frecknall and Patsy Ferran’s Critics’ Circle Award-winning collaboration on Summer & Smoke at the Almeida Theatre, the director and actress will join forces on Anton Chekhov’s Three Sisters in a new adaptation by Cordelia Lynn (8 April to 1 June 2019, press night is 16 April), for which full casting is announced today.
Dance Nation at the Almeida Theatre is a pretty damn fine piece of writing by US playwright Clare Barron, and a damn fine piece of theatre directed by Bijan Sheibani.
Clare Barron’s play Dance Nation at the Almeida not only sees life through the female lens, it touches on subjects that are generally treated as taboo.
With plenty of influences from across film, there’s still a lot to take from Clare Barron’s play, and as annual dance fever arrives in the UK once again and mingles with a year of female-led stories, Dance Nation is timely if not quite a ten from Len.
The Almeida Theatre has announced the full cast for the UK premiere of Clare Barron’s new play Dance Nation, directed by Bijan Sheibani (running from 27 August to 6 October, with a press night on 4 September).
In the claustrophobic atmosphere of Chloe Lamford’s design, Vicky Featherstone’s production of Gundog provides too little variation of tone, especially as Simon Longman’s storytelling resists the propulsion of forward narrative.
Gundog at the Royal Court Theatre joins other plays in recent years about farming and rural life, standing out in its bleakness, thematic complexity and disarming poetry. This small play has the epic roar of modern canon.
It’s conspicuously worthy to try to combine elements of poverty, migration, feminism, dysfunction and dementia but neither Simon Longman’s tedious time-skipping script nor Vicky Featherstone’s static direction can relieve the infectious boredom of Gundog at the Royal Court.
There is nothing about Gundog at the Royal Cout that will make you feel good about where we are today. It is a dark and disturbing tale about the state of play in modern rural Britain. That means it won’t be for everyone, but I was mesmerised.
New misery fest about the hard graft of rural life is symbolic, but it really lacks drama and resonance.
It is one of the strengths of Ukrainian playwright Natal’ya Vorozhbit’s savage war play, Bad Roads, translated by Sasha Dugdale and part of the Royal Court’s autumn international season, that she shows not only what war is like for women, but also its corrosive effects on masculinity.
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