Alistair McDowall’s The Glow at the Royal Court is a play I’ve had to ponder – a lot – and I still don’t have any firm conclusions.
One of the Urban Dictionary definitions of “nasty” is a word to describe something that is ridiculously good. Between that and the more traditional meaning of the word, I have no hesitation in proclaiming that Aleshea Harris’s literal firecracker of a play is one of the nastiest shows in town. Acclaimed and awarded upon it’s 2018 Off-Broadway premiere, it’s not hard to see why, especially in Ola Ince’s boldly inventive, fabulously cast new production for the Royal Court. It’s astounding.
Two actors on stage describe their characters as if the direction in the playtext is part of the script. It is the first of many quirks in Aleshea Harris’ dark revenge comedy Is God Is.
American playwright Aleshea Harris’ dazzlingly satirical 2018 extravaganza is about two women seeking justice and getting even, and it comes to the Royal Court from New York, trailing shouts of enthusiasm.
The great thing about Lucy Bailey’s 80-minute production of Oleanna is its sense of balance. And I have to say that it changed my mind about the power balance in the drama.
I finally caught up with Michael Longhurst’s restaging of his 2012 Royal Court production of Nick Payne’s Constellations, a gem of a two-hander.
Jasmine Lee-Jones’ award-winning seven methods of killing kylie jenner transfers downstairs at the Royal Court Theatre.
Moments of dark humour are scattered throughout Edition #6 of the Royal Court’s Living Newspaper but elsewhere it is a bit more hit and miss.
The Royal Court’s Living Newspaper continues with edition #5 which feels a little less reactive to the headlines and a little more reflective on the state of the world as we find it today.
The third edition of Royal Court’s Living Newspaper moves online only, with some seriously fierce political writing this time around.
It’s not that Sarah Kane had magical powers, but that she was with total integrity exploring her question. And there were a lot of amazing questions at that time.
Sneaking in in the nick of time, I catch the delights of the second edition of the Royal Court’s Living Newspaper.
The promise of being “urgent, responsive and fast” may not always be achieved, but at its very best the Royal Court’s Living Newspaper: A Counter Narrative is both pertinent and full of joyous energy.
The first televised Black British Theatre Awards 2020 were a vibrant affair hosted by presenter and comedic actor Eddie Nestor, filmed at London’s Young Vic Theatre and broadcast on Sky Arts.
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?
The coronavirus pandemic and lockdown has thrown a whole new light on certain plays, the ones about isolation, loneliness and surreal landscapes.
Five minutes ago, I finished watching Cyprus Avenue and I am bursting to write something, anything, down.
Not to let a decade of theatre bloggery go by without marking the occasion, to kick things off, I’ve compiled a list of my favourite play for each year I’ve been blogging. It has been fun revisiting my best-of lists but absolute agony narrowing each list down to just one.
Shoe Lady at the Royal Court is not the most involving play in the world, but it does have an evocative resonance.
Shoe Lady is an intriguing and well-considered examination of the social and domestic pressures placed on women to perform multiple and often contradictory roles in our society.