Race, rage and relevance: sensitive revival of American writer Alice Childress’ 1955 anti-racist play shines bright.
Ultimately, all eyes are on Rachael Stirling in Plenty and she stylishly carries this story of disillusionment to its inevitable, if uncertain, conclusion.
We’re told Plenty is viewed as a modern classic. For the life of me I have no idea why and the sterling work of this excellent cast can do nothing to dissuade me.
Long Day’s Journey Into Night is a titanic piece of writing (and a production that is now even longer than it was in Bristol) but when it is of this quality, it really doesn’t matter.
Long Day’s Journey Into Night at London’s Wyndham’s Theatre is a powerful and moving production, but would be even more compelling with about an hour taken out of it.
Modern-dress revival of wordy George Bernard Shaw classic is a tour de force for Gemma Arterton.
Through the trial and its aftermath, the production soars, mainly on the strength of Arterton’s superlative performance. A woman alone, literally so in this all-male company.
This harrowing story written by Frank McGuinness tells the tale of three men taken hostage in the Lebanon. Someone Who’ll Watch Over Me first premiered in 1992 and took the theatre world by storm. Inspired by the hostage situations in the late 1980’s particularly those of Brian Keenan and John McCarthy the captives in the story are all invented by McGuinness. Michael Attenborough expertly directs this strong, often hard to watch, powerful play. Set in a cell in Beirut it tells of how these hostages get through this ordeal. Designed by Robert Jones the set is extremely creative giving you the claustrophobic feeling although sat in the open space of the auditorium. A single square with thin mats to sleep on, chained by their feet. Overhead we see pipes all seemingly filthy dirty and just a Koran and Bible to keep them company with no external contact to the outside world.