As much as the character of Nina displays resilience and fortitude throughout Graceland at the Royal Court Theatre, she is also self-conscious and delicate. This balance, and Wong Davies’ lyrical writing, are what makes this an excellent, intimate production.
Love London Love Culture’s Emma Clarendon takes a look at what critics have had to say about this new play at London’s Royal Court Theatre.
Frank Ocean fills the air, and audience members tap their feet and nod their heads in time. I jokingly ask my mum if she recognises the song as I recall how I wailed and begged about 10 years ago for her to download his album onto her iPod.
Ryan Calais Cameron does it again: he portrays the male black British experience with joy as well as pain.
While the title of Jasmine Lee-Jones’ play is provocative by anyone’s standards, there is more to it than meets the eye.
The concept is like a Doctor Who plot opened up beyond the confines of a genre, to encompass limitless possibilities. It is both enthralling and disturbing.
Though a master of testing the theatrical limits of space and time, the first half of Alistair McDowall’s latest play unfolds like a straightforward Gothic thriller.
Bizarre, beautiful and breathtaking – time-travelling fantasia boasts a brilliant staging and a spoof playtext essay.
Al Smith’s new play was jinxed before it started – and, bogged down in cartoonish detail, it never really recovers.
Al Smith’s new play Rare Earth Mettle at the Royal Court is a meaty piece that covers a lot of ground.
Sonia Friedman Productions and the Royal Court Theatre have confirmed the return of Ian Rickson’s production of Jez Butterworth’s Jerusalem to London’s West End for a strictly limited 16-week engagement. Mark Rylance and Mackenzie Crook will reprise their celebrated roles as Johnny “Rooster” Byron and Ginger respectively, with further casting to be announced at a later date.
Next Monday prime minister Boris Johnson will announce his decision on whether legal restrictions – including those related to social distancing and wearing of face masks – will be lifted in England on 19 July when Step 4 of the Government roadmap is due to be reached.
A mocking tweet over the veracity of the ‘self-made’ adjective launches Jasmine Lee-Jones’ play Seven Methods of Killing Kylie Jenner, now transferred to the Royal Court’s Downstairs main house after its premiere in the Upstairs studio two years ago.
Leanne Henlon as Cleo and Tia Bannon as Kara deliver extraordinarily versatile performances endowed with conviction and passion in seven methods of killing kylie jenner at the Royal Court Theatre.
London’s Royal Court Theatre has announced its reopening programme, running from 16 June to 18 December 2021. Highlights include: seven methods of killing kylie jenner by Jasmine Lee-Jones, The Song Project created by Chloe Lamford, Wende, Isobel Waller-Bridge and Imogen Knight, Is God Is by Aleshea Harris, What If If Only by Caryl Churchill and Rare Earth Mettle by Al Smith.
The National Theatre has announced that Clint Dyer has been appointed deputy artistic director. He will work closely with Rufus Norris, director and joint chief executive, and Emily McLaughlin, director of new work, to support and shape the NT’s creative output.
Since the start of the Covid pandemic closures in 2020, many independent, alternative and fringe theatre venues and companies across the UK and beyond responded to the challenges of lockdowns by taking their shows online – and OffWestEnd has responded to this whole new strand of theatre by launching a new award, the OnComm, for the best of this new stream of online theatre.
The BBTAs have revealed the 2020 Black British Theatre Awards nominee list, voted almost entirely by the public and representing some of the finest work by Black performers and creatives in UK theatre. The 2020 awards ceremony will air on Sky Arts this autumn, as part of the channel’s free to air line-up.
From 12 November to 19 December 2020 London’s Royal Court Theatre will reopens its doors with new socially distanced live performances around the building under the title Living Newspaper: A Counter Narrative.
We are living, I have frequently been told, through weird times. Maybe. But do weird times necessarily require weird art? Do bad times provoke bad art?