After re-visiting The Book of Mormon, it makes it into this week’s Top Ten; so does People, Places and Things, newly transferred from the National to the West End. Plus, this week’s openings and other recommendations.
After three one-star shows in a row last week, there’s a guaranteed hit opening this week when People, Places and Things transfers from the National.
Mark Shenton’s top ten ticket recommendations of the week, plus new openings at the St James and Young Vic plus the latest in Kenneth Branagh’s West End season
Top ten of the week, but there are lots of dark theatres, too, in London at the moment.
Top ten of the week, with new addition for Simon McBurney’s phenomenal The Encounter.
A Broadway comedy and two British created musicals arrive in the West End this week – one from last summer’s season at Bath’s Theatre Royal, the other after a long stage life of touring regionally and internationally for the last eight years. Will any of them make it to next week’s Top 10 list? This week’s main openings In London: …
This week the London theatre bloggers discuss Caryl Churchill’s latest play Escaped Alone at the Royal Court, the National Theatre revival of August Wilson’s Ma Rainey’s Black Bottom and Red Velvet, starring Adrian Lester as part of the Kenneth Branagh Theatre Company season in the West End.
Mark Shenton’s top ten of the week, including Florian Zeller’s The Mother that has followed his play The Father (soon to return to the West End) to London from Bath. Plus, this week’s biggest openings.
It’s a question of faithfulness. Should an adaptation be faithful to its original source, or can it just take off and roam around like a free spirit? I must say that new versions of classics that stick closely to the original bore me rigid. I mean, if you’re not going to make big changes, why bother? I much prefer adaptations which are imaginative offshoots rather than those which remain slavish growths.
Admit it, ladies. Within the most modestly-clothed and lipstickless of us pale white matrons, there lurks a sneaky wish to be – just for an hour or two – poured into a tight snakeskin dress, rechristened “Peaches”, and able to snarl “When God made me She broke the mould – put an earthquake in the sway of my hips, a hurricane in the curve of my stride and a tornado in the whip of my hair…Even when I’m a disaster, I’m a natural disaster,! This body is a gift and I will unwrap it as much as I see fit. I am a prize! Uh-huh!”. So thank you, Adjoa Andoh, for the brief fantasy. You did it for all of us.
The National Theatre has announced new production dates and casting updates for its next booking period, running from January to April 2016. Highlights include: Sharon D Clarke in the title role of Ma Rainey’s Black Bottom, directed by Dominic Cooke; Katie Mitchell’s revival of Sarah Kane’s 1998 play Cleansed; Lorraine Hansberry’s Les Blancs, directed by Yael Farber; a modern take on Nikolai Erdman’s The Suicide by Suhayla El-Bushra, directed by Nadia Fall; and the New York transfer of Annie Baker’s Pulitzer Prize-winning play The Flick.
Everyman is about one individual’s judgment day and the harrowing evaluation of his life’s work before God. Specifically whether as new custodian of the NT Rufus Norris can deliver a crowd-pleaser for the £15 Travelex punters (yes), and if it will get less critically mauled than his debut production Light Shining in Buckinghamshire (couldn’t do worse).
THIS VERY NIGHT SHALL THY SOUL BE REQUIRED OF THEE… God is sweeping the big blank stage. We won’t know for a minute or two that Kate Duchene IS God, given she’s a weary grey-haired cleaner in a tabard. But … Continue reading →