James McAvoy triumphs in Martin Crimp’s magnificent makeover of the French classic Cyrano de Bergerac: a jaw-dropping success.
Reimagined for the modern stage with a contemporary cast led by James McAvoy, Jamie Lloyd’s production of Cyrano de Bergerac feels at every moment like theatre at its most exciting, liberating and inclusive.
In a production that is as much rally as world class musical, Jamie Lloyd transforms Evita into a commentary on recent times as well as a showcase of some of the finest performing talent to be found on both sides of the pond.
With plenty to say about the shallow foundations of political leaders hiding behind their PR machines, Jamie Lloyd’s triumphant Evita is raw, fresh and intense – “oh what a show!”
Betrayal is a real gem from the Pinter collection, benefiting from the minimalist design and slick direction of this production – Charlie Cox’s performance is a real highlight.
In just six months, Jamie Lloyd’s creative team and ever-changing company of actors has utterly transformed our perspective on Harold Pinter.
Tom Hiddleston is back! And in excellent form in Jamie Lloyd’s revelatory revival of the 1978 Pinter classic Betrayal.
Betrayal is everything you could hope for. The Pinter at the Pinter season has set a very high standard for itself, but what a swansong this has turned out to be.
The purpose of Jamie Lloyd’s still and contained approach is extremely well and atmospherically realised by a top-notch cast who bring such clarity to Pinter Six’s social commentary.
The collective works that make-up Pinter 5 feel as insightful and meaningful as any of the Pinter at the Pinter anthologies that have come before.
Pinter Two is a complete change of tone from its companion collection, moving from social politics to more familiar Pinter territory, relationship politics.
By emphasising the common themes in Pinter One and the topicality of their subject matter, this a very strong start for the Pinter at the Pinter season.
The Open Air Theatre has announced the programme for its 2018 summer season, under the continuing artistic directorship of Timothy Sheader. The headline productions are Peter Pan, As You Like It, Dinosaur World Live, Little Shop of Horrors, and The Turn of the Screw, a co-production with English National Opera.
Star director Yael Farber’s revival of a 1990s classic is surely atmospheric, but it lacks symbolic weight.
It is dark. An earth floor, plank stable door, murky pond. Sometimes a candle is lit, but Soutra Gilmour’s set remains tenebrous, primitive.
I remember Apologia from its first time around, at the Bush Theatre. Then it seemed an extraordinarily acute if honest rebuke to those women of the 1960s and ‘70s.
The 1960s were “hilarious”, says one young character in this revival, starring Broadway icon Stockard Channing, of Alexi Kaye Campbell’s 2009 family drama at the Trafalgar Studios. How so? “Oh you know, the clothes, the hair, the raging idealism.”
Soutra Gilmour’s stunning Taj Mahal parapet wall stretches into the far distance creating a Stygian gloom with a channelled, divided stage floor that, it’s true, caught one unfortunate spectator completely unaware. Little did he know that the cracked surface he tripped into would later become an execution channel, awash in the blood of 20,000 hands chopped off by guards following the order of their illustrious Emperor.
verything Jamie Lloyd touches seems to turn to gold, the current Midas of the directing world. A long-standing partnership with designer Soutra Gilmour is certainly one of the reasons that his plays are so stylised, so specific, but Lloyd is also able to bring out the humanity in every character – their darker sides shine through as much as their honourable qualities.
For its reopening, Younis has looked across the pond for a new play. He has chosen Rajiv Joseph’s Guards at the Taj, which was first staged at the Atlantic Theatre, New York, in 2015, picking up an Obie Award along with other plaudits.
- Page 1 of 2