On BearRidge, the first Ed Thomas play for 15 years, is a post-apocalyptic metaphor-fest which is tragic, lyrical and funny too.
The densely poetic On Bear Ridge offers a thoughtful experience at the Royal Court, with Rhys Ifans and Rakie Ayola on fine form.
A surreal, existential tragi-comedy, On Bear Ridge is at times tense, laugh out loud funny and heart-wrenchingly sad.
The world of Nightfall is small and intimate but the Bridge is neither of those things and the intricacies of Norris’ writing becomes lost like the wafting smell of interval madeleines.
Though there are certainly something things to like about this production of Nightfall – Rae Smith’s set and some glimmering gems of dialogue – it is largely a limping story with little sense of its own scale that shies away from bold, political statements about poverty and forgotten people in modern Britain.
Nightfall is a subtle affair that is funny and quietly affecting – the production is beautifully designed and features some outstanding performances.
Nightfall, a sensitive play about the impact of grief on one family’s life, might be slow to unravel but is completely relatable and engaging.
There was a 15-minute delay to the commencement of Nightfall on the occasion of this review, with an actor delayed on public transport. Sadly that delay was all too short, as what followed was a play that promised so much but delivered little more than poorly performed pretensions.
Named as one of the 1,000 most influential Londoners by the Evening Standard, Barney Norris’ latest play, Nightfall, has just opened at the very high-profile Bridge Theatre.
With a fine-tuned cast, Rae Smith’s immense and atmospheric set and Laurie Sansom’s direction, Barney Norris’ intense personal and social observation command attention: from a dangerously slow-burn start it proves to be not only an engrossing play but quite an important one.
Ophelia Lovibond, Ukweli Roach and Sion Daniel Young star in the world premiere of Barney Norris’s Nightfall at the Bridge Theatre.
Gary Owen’s Killology is a challenging watch – both structurally in its non-linear format and emotionally in its subject matter. Killology is a new gaming experience in which you score more points for the more ‘creative’ ways in which you torture and kill people and Owen’s play looks at the consequences of its success on Paul, who made it, and on father and son Alan and Davey.
Owen fields three characters: Paul, smarmy son of an industrialist, has invented a game, Killology, in which players torture their victims. Sounds gross enough, but Paul has given it an extra dimension: you score more points depending on how creative you are in your torturing.