Europe at the Donmar Warehouse is a magnificent revival of David Greig’s 1990s visionary classic which is timely, tough and tender, brutal and brilliant.
Love London Love Culture rounds up the reviews for Michael Longhurst’s production of Europe at the Donmar Warehouse.
This 25th anniversary revival of David Greig’s play Europe is, for the most part, a long chin scratch about home, belonging and division.
The Donmar Warehouse has announced full casting for artistic director Michael Longhurst’s inaugural Donmar production Europe by David Greig. Joining previously announced cast members Billy Howle (Berlin), Kevork Malikyan (Sava), Faye Marsay (Adele), Stephen Wight (Billy) and Shane Zaza (Morocco) will be Theo Barklem-Biggs as Horse, Ron Cook as Fret and Natalia Tena as Katia.
Michael Longhurst has announced his first season as artistic director of London’s Donmar Warehouse, which will include one full-length world premiere, two UK premieres and two major revivals, the first helmed by Longhurst himself.
The Royal Exchange has succeeded in bringing psychologically unnerving horror to its stage. With an underlying sense of uneasiness, Frankenstein is guaranteed to make you jump out of your skin on more than one occasion.
This Frankenstein ends up feeling a little po-faced as seriousness alone does not dramatic imperative make, especially when the material is as familiar as this.
Powerful revival of Jim Cartwright’s 1986 modern classic comes alive in all its noisy, vulgar and transcendent glory.
As somebody who grew up on the outskirts of a depressed Lancashire town in the 1980s, I wasn’t quite sure what to expect from the Royal Court’s revival of Jim Cartwright’s seminal debut play Road.
Jim Cartwright’s script is atmospheric in itself, the personalities of each character who all represent a different failing of society are there in the text.
The Royal Court Theatre announces the cast for Road, written by Jim Cartwright and directed by John Tiffany. Cartwright’s seminal play gives expression to the inhabitants of an unnamed northern road in Eighties Britain.
In a bleak neon office (design by Jon Bausor) a much awaited new play by debbie tucker green, always modishly lower-case in titles, takes no prisoners.Except that it is about one, unseen and awaiting a capital punishment decision by his victim in some unspecified but British dystopia. Directed by the author, it is a 75 minute study in unreconciled trauma and the awkward insensitivities of officialdom and protocol. And perhaps (to a sympathetic ear) a good evocation of the perennial inability of non-victims to understand the tearing ,incurable dislocation of personality involved in rape.