World premieres in Chichester Festival Theatre’s Festival 2020 include first plays by Steven Moffat and Kate Mosse and new work by Suhayla El-Bushra and Christopher Shinn.
Ruby Thomas’ experimental debut play Either is an intriguing questioning of gender identity that retains an air of politeness.
New Israeli play Amsterdam about the effect of the past on the present is an open text which owes much too much to Martin Crimp.
Actress Kyla Morris chatted to Emma Clarendon about the new audio immersive interpretation of 4:48 Psychosis by Sarah Kane.
Now at last my prayer has been answered. Deafinitely Theatre currently brings a bilingual approach to 4.48 Psychosis – spoken English and British Sign Language — to the play, using an all-male cast.
It is one of the strengths of Ukrainian playwright Natal’ya Vorozhbit’s savage war play, Bad Roads, translated by Sasha Dugdale and part of the Royal Court’s autumn international season, that she shows not only what war is like for women, but also its corrosive effects on masculinity.
The Lyric Hammersmith has announced their 2018 season comprising a new adaptation, an innovative Shakespeare staging, a major festival production, a stunning revival, an award-winning contemporary opera and a brand new dance production.
New two-hander is a highly stylised account of a positively Ballardian reality: contemporary nihilism rules.
The Treatment has often been ignored, perhaps on account of its large cast, or because of its large scale. Now that the Almeida Theatre has decided to stage this story of how art cannibalises life we have the chance to judge its relevance some 25 years after its premiere.
Despite this, and the freezing temperature of the venue, the Styx, I was struck by how well the work has endured, and how recent global disasters (Syria, Brexit, the refugee crisis) have only served to increase its relevance.
Feminist reading of Ophelia is brilliantly written, but its staging is over-elaborate and its message is questionable.
Cleansed at the National Theatre disappointed for a number of reasons. Sarah Kane’s 1998 vision is of a fractured totalitarian place, somewhere, anywhere, where homosexuality is despised. Hers is a noble argument, for in today’s world we do not need to look too far to be reminded such cultures and regimes are all around.
This week the London theatre bloggers discuss productions including Sarah Kane’s Cleansed at the National, I See You at the Royal Court Upstairs and Firebird, transferred from Hampstead to Trafalgar Studios.
Few things are more readily guaranteed to sell out a theatre than the phrase “this play is not suitable for children” and Rufus Norris’s continued gamble in his first National Theatre season is that Cleansed should fill at least the Dorfman. It will, but for all the wrong reasons.
Katie Mitchell’s revival of Sarah Kane’s 1998 play sees it as a ghastly nightmare, but overburdens the text with too many additions.
Random and topical thoughts and quotes gathered by My Theatre Mates contributor Aleks Sierz, first published on www.sierz.co.uk. Here’s a favourite stage direction…
- Page 1 of 2