Random and topical thoughts and quotes gathered by My Theatre Mates contributor Aleks Sierz, first published on www.sierz.co.uk.
Covering both contemporary experience and historical background, debbie tucker green’s Ear for Eye at the Royal Court feels like an instant classic. But it’s not an easy watch.
Ear for eye, Debbie Tucker Green’s new play for the Royal Court, is ferocious and uncompromising and challenging and quite often breath-taking.
Mark Shenton’s news, reviews, quotes, tweets and farewells of the week, from the West End, Broadway and beyond.
On the 50th anniversary of 1968, David Edgar looks back at his younger self and explores the results of radical politics< in Trying It On at the Royal Court.
David Ireland’s critically-acclaimed black comedy Cyprus Avenue will return to the Royal Court for a limited four week run from 14 February to 16 March 2019 in the Jerwood Theatre Downstairs.
Despite some structural shortcomings and a plot that doesn’t always thoroughly connect, Poet in Da Corner at the Royal Court has fire in its belly that needs to be in front of audiences.
A semi-autobiographical coming of age story, Poet in da Corner at the Royal Court raps and jumps to the sounds of grime.
An overwhelmingly powerful new play about motherhood and psychological collapse: Lesley Sharp amazes in The Woods at the Royal Court Theatre.
Random and topical thoughts and quotes gathered by My Theatre Mates contributor Aleks Sierz, first published on www.sierz.co.uk.The post One for Sorrow appeared first on Aleks Sierz.
Walking into the Royal Court to see Rory Mullarkey’s new show Pity, one is welcomed by a full brass band, a working ice-cream stand and a heck of a lot of colour. The energy in the room is buzzing but has a slight edge.
Now, on the main stage at the Royal Court Theatre, Rory Mullarkey’s leftfield fantasy, Pity, offers a surreal state-of-the-world account of our society, and of its discombobulations.
As strong as the cast is (Abraham Popoola and Siobhán McSweeney stand out), the hyperactive knowing style in which they deliver Pity also grates.
One For Sorrow may run out of steam a bit in its second act, but One For Sorrow remains a play for both your brain and your pulse. Explosive.
For all my scepticism about the views expressed by some characters, I decidedly think this is impressive work from a playwright to be taken seriously and it’s only very slightly too long and under-resolved.
It could be the November 2015 Paris terror attacks, except this time it’s happening in London. And it is also the powerful start of Cordelia Lynn’s new play, One for Sorrow, which has just opened at the Royal Court’s upstairs studio space.