Marianne Elliott and Miranda Cromwell’s production of Death of a Salesman uncovers new layers to Arthur Miller’s intense and profound play.
Susie McKenna’s highly accomplished and atmospheric production of Blues in the Night is filled with heaps of personality and heart that is reflected in the stunning performances from all of the cast.
The highly acclaimed, sold-out Young Vic production of Arthur Miller’s Death of a Salesman will transfer to the Piccadilly Theatre from 24 October 2019 to 4 January 2020, with a press night on 4 November 2019.
Directed by Marianne (actual genius) Elliott and Miranda Cromwell and featuring an African American Loman family, this Death of a Salesman is the clearest, most moving and profound vision of this play I’ve ever seen.
This production of Death of a Salesman will become the stuff of legend, hopefully setting a precedent for future ‘classic’ revivals.
For anyone who has been under a rock for the last couple of years in London theatre, this stripping back to the essence of a classic is one of Marianne Elliott’s (many) talents. And here with Death of a Salesman, with co-director Miranda Cromwell, the play is written again from the ground up. Without changing a word.
For Death of a Salesman, one of Arthur Miller’s greatest plays about the hollowness of the American Dream, Marianne Elliott and Miranda Cromwell and their cast make it an impressive, even dynamic evening that lacks some subtleties but is never less than gripping.
We round up the reviews for the Young Vic’s production of Arthur Miller’s classic play Death of a Salesman.
It’s Marianne Elliott’s impressionistic approach that yields considerable insight into the themes of Death of a Salesman, the characters’ attachment to material possessions as indicators of success, and most especially to the physical home that contains their family history, which they have spent decades slowly paying-off.
This year’s Olivier Awards winners certainly highlighted the wonderful diversity in theatre this year – now can we please broadcast the full ceremony?
Come From Away, Company and The Inheritance led the way with four awards each at the Olivier Awards 2019 with Mastercard, announced at a ceremony tonight (Sunday 7 April) at London’s Royal Albert Hall, hosted by Jason Manford.
The 2004 Broadway musical Caroline, or Change has returned to London’s West End in a slick, entertaining production anchored by a sensational lead performance by Sharon D. Clarke.
Mind the Blog rounds up her favourite female performances in the theatre during 2018.
The extraordinary Caroline or Change makes the leap into the West End at the Playhouse Theatre, with a titanic Sharon D Clarke at the helm.
Caroline, or Change is a curious show that sees a five-star cast deliver distinctly flawed material. Set in an early 1960s Louisiana.
Following not one, but two recent acclaimed runs (first at Chichester’s Minerva Theatre in 2017, followed by a limited engagement at Hampstead Theatre earlier this year), Michael Longhurst’s production of Tony Kushner and Jeanine Tesori’s musical Caroline, or Change now makes its mark on London’s West End, taking up residence at the Playhouse Theatre until next spring.
Caroline or Change has a lot going for it and three potentially interesting plot lines that should fully engage, yet it never quite unites as tidily and explosively as it promises to do, the wackier aspects serving to alienate rather than enhance the rest of the story.
Writer/director Susie McKenna delivers her 20th festive production – Aladdin – with a show that captures the diversity of her London patch, yet cleverly avoids cultural appropriation and all the while managing to maintain the joyous irreverence that makes pantomime such a glorious British Christmas tradition.
What a difference, er, 16 years makes… Despite the show spending over a decade at the Dominion Theatre, I never managed to make it to see We Will Rock You in the height of my original Queen obsession – it actually closed just four months before I moved to London.
A couple of weeks ago I was one of the lucky few who was allowed into the Caroline, or Change rehearsal rooms for a sneak peek at how the show was coming along, as it prepared for its West End transfer.