Conor McPherson’s adaptation of Uncle Vanya featuring Toby Jones and Richard Armitage at the Harold Pinter Theatre is so good you can forgive the “wanging on”.
This Uncle Vanya is more roundedly entertaining than other recent productions and while that detracts a little from the emotional undercurrents of the original, the fluidity and richness of Rickson’s production, performed by an excellent cast, ensure a satisfying Chekhovian conclusion.
Terri Paddock was joined by Matthew Broderick, Elizabeth McGovern, Rosalind Eleazar, Jim Norton, Sinead Matthews and Sid Sagar to discuss the history of Kenneth Lonergan’s beautifully delicate play The Starry Messenger.
There are momentary gasps and occasional laughs in The Starry Messenger but ultimately this is a stretched out evening at the theatre, albeit one with a starry cast.
In The Starry Messenger writer Kenneth Lonergan has gifted Mark with a dry humour delivered by Matthew Broderick in such a deliciously understated way you can’t but admire his comic timing.
Middle-aged white male wish fulfilment writ large, The Starry Messenger is a dull, disappointing and delusional three hours at the Wyndham’s Theatre.
When I left I thought I was disappointed in The Starry Messenger, but this morning I can’t help thinking about Matthew Broderick’s character Mark, and his wife, and the sadness of all our middle years as they shade towards nightfall..
Jim Norton, Jenny Galloway and Rosalind Eleazar join Matthew Broderick and Elizabeth McGovern in the West End production of The Starry Messenger by Kenneth Lonergan.
Once upon a time, quite recently, you couldn’t move for plays about youth. Now, there’s been an avalanche of dramas about ageing, usually in the context of dementia and family life. Maybe all of our main playwrights have suddenly grown up, or maybe the endless quest for novelty has deposited us on the shores of the current trend-setting idea. Nicola Wilson’s Royal Court debut is yet another play about Alzheimer’s, ageing and memory, but is it any different from Florian Zeller’s The Father, April de Angelis’ After Electra or Emma Adams’s Animals?