Ten years after its world premiere and two years after the playwright’s death, Sam Shepard’s Ages of the Moon receives a “finely tuned” UK premiere care of director Alexander Lass and stars Joseph Marcell and Christopher Fairbank. We’ve rounded up review highlights. Time to get booking!
You’d be hard pressed to see a better version of Sam Shepard’s play Ages Of The Moon.
Ahead of Mates founder Terri Paddock’s post-show Q&A tonight and next Wednesday’s press performance, we’ve got first-look photos for the posthumous UK premiere of Sam Shepard’s Ages of the Moon. Check out the full gallery – and then get booking!
Director Alexander Lass has teamed up with producer Debbie Hicks on two major play productions running at The Vaults this autumn: the first-ever revival of David Hare‘s 2003 play The Permanent Way, which opened in September, and, starting performances tonight (17 October 2019), the UK premiere of Sam Shepard‘s 2009 play Ages of the Moon. We caught up with him to learn …
As part of her ongoing post-show Q&A series, Mates co-founder Terri Paddock reunites with producer Debbie Hicks at The Vaults for her production of the much-anticipated UK premiere of Sam Shepard’s Ages of the Moon. Got any questions?
Joseph Marcell and Christopher Fairbank play lifelong friends in the UK premiere of Sam Shepard’s acclaimed two-hander Ages of the Moon. How are they getting on so far in rehearsals? Sneak a peek at our behind-the-scenes photo gallery – and then get booking!
Sam Shepard’s 2009 play Ages of the Moon at last receives its UK premiere, in a production directed by Alexander Lass and produced by Debbie Hicks at The Vaults, where it will run alongside their current revival of David Hare’s The Permanent Way in the adjacent space. Ages of the Moon will run in The Vaults Theatre from 17 October …
Kit Harington and Johnny Flynn star in Matthew Dunster’s production of True West now playing at the Vaudeville Theatre. Love London Love Culture rounds up the reviews…
Sibling rivalry and dysfunctional families are at the heart of Sam Shepard’s True West, a black comedy that has emerged from an initial drubbing Stateside with a revival in the West End.
As the two brothers battle over a script that could make them their fortune – True West becomes a play that is really about the writer, the late Sam Shepard.
December can be a slightly overwhelming time to pick a show to go and see – luckily Love London Love Culture has selected seven of the very best opening next month…
Unsuccessful West End outing for Dawn King’s intriguing and evocative 2011 dystopian chiller.
Kit Harington and Johnny Flynn are to star in the West End premiere of Pulitzer Prize-winner Sam Shepard’s modern classic True West.
Written as a response to George W Bush’s Republican Party’s war on terror following the attacks in September 2001 only 12 years after this play’s premiere America seems to be run by a God of Hell now whilst Bush, in hindsight, seems like a competent clown.
Frank (Craig Edgley) tends the heifers – someone has to. The corporates have moved all the dairy farmers out West, but Emma (Helen Foster) and Frank stay true to their roots.
Despite being blown away by True West, something about Sam Shepard makes me a little wary. I liked rather than loved Fool For Love and ultimately steered clear of the recent Buried Child and it was with a little trepidation that I allowed myself to make my way into A Lie of the Mind, produced here at the Southwark Playhouse by the folks at Defibrillator Theatre.
Following high-profile productions of Fool for Love and, currently at the West End’s Trafalgar Studios starring Ed Harris, Buried Child, London has another major Sam Shepard revival to look forward to. Defibrillator presents a new production of Shepard’s 1985 play A Lie of the Mind at Southwark Playhouse this spring. Helmed by artistic director James Hillier, it will run from 4 to …
The New Group’s production of Sam Shepard’s Buried Child, starring Hollywood’s Ed Harris, is now extending its critically acclaimed West End run at Trafalgar Studios until Saturday 4 March 2017.
At first knowing that this play was a marathon, two-hour forty-five minutes long, with two short intervals, I was a little daunted. However, never have I known such a production absolutely fly past, as hard-hitting and thought-provoking as it is, there is an argument for discussing what the audience concluded from it.
“We can’t not believe in something – we just end up dying if we stop. Just end up dead.” America in the grip of a malaise, America tearing itself apart and here, right in the middle of the 1970s, Shepard’s resonant metaphor speaks directly to post presidential Trump-land USA 2016.
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