A tight 80-minute three-hander (two other minor characters appear briefly), Original Theatre’s The End of the Night is not an easy watch but it is quite brilliant, and lends itself perfectly to the digital format.
What role does theatre play in exploring historical and political themes? Mates founder Terri Paddock will explore that very question with an expert panel following a performance at the Park Theatre of The End of the Night, the new World War II-set drama based on a true story.
Based on the incredible true story, The End of the Night takes place in the house of Felix Kirsten (Michael Lumsden), who has invited Nazi Heinrich Himmler (Richard Clothier) to meet with Jewish man Norbert Masur (Ben Caplan) who serves as a representative of the Jewish people.
The legacy of Britain’s involvement in the slave trade is fascinatingly examined in the audio version of The Whip from the RSC.
While The Whip highlights the moral complexity of the abolitionist movement, the density of the plot does not enable the emotional weight of the piece to translate to its audience.
The news of an extension for the Witness For The Prosecution, until March they say but quite possibly unto the edge of doom, and the fact that Lucy Bailey directed it resolved me to go to a Peak Tourist matinee.
Kushner’s play has been given the moniker #iHo for short, though quite why that impulse has kicked in now is not clear, for the play is a hard-going three and a half hours full of wordily complex pontifications. The mechanics of social media aside, to suggest that it can be encapsulated in a three letter hashtag feels crudely reductive.
With her world premiere production of Marcus Gardley’s A Wolf in Snakeskin Shoes in previews from this week, Artistic Director of the Tricycle Theatre, Indhu Rubasingham, today announces the company’s 2016 spring/summer season. The season opens with the transfer of Florian Zeller’s The Mother, starring Gina McKee (pictured), from Theatre Royal Bath, following the critically acclaimed run of Zeller’s The Father …