The publicity for Martin Crimp’s new play, gleefully stoked by the National Theatre, has been all about Cate Blanchett and ‘bondage’ scenes
Martin Crimp’s new play, When We Have Sufficiently Tortured Each Other at the National Theatre, has been hyped because of its star, Cate Blanchett, and rightly so: it’s a five-star show.
While it may not necessarily live up to expectations, When We Have Sufficiently Tortured Each Other is a dark humoured, somewhat odd yet gripping production, and worth a watch for the performances alone. But if it’s the shock value you’re after, there is nothing here that you wouldn’t see on post-watershed television.
Strong performances from Cate Blanchett and Stephen Dillane make the challenging When We Have Sufficiently Tortured Each Other worth the effort at the National Theatre.
Rufus Norris has unveiled the National Theatre’s plans for 2019 and beyond. Highlights include the world premiere of Small Island adapted by Helen Edmundson from Andrea Levy’s novel, directed by Rufus Norris.
Print Room at the Coronet will present a year of outstanding and emotionally vivid new international performance by some of the world’s greatest most creative minds, including Pulitzer Prize winner Don Delillo, Ben Okri, Anthony Neilson and Stephen Dillane.
Even without trying, I end up being contrary! The Critics’ Circle Awards have announced their winners for 2016 and as I cast my eyes down the list, I was amused to see that their best new play and best musical – The Flick and Groundhog Day – were shows that I did not hugely enjoy.
Harry Potter and the Cursed Child was the big winner at this year’s Critics’ Circle Theatre Awards, taking home three prizes, while elsewhere Glenda Jackson, Billie Piper and Stephen Dillane all won acting prizes.
Has anyone else had difficulty getting back into their theatregoing after the results of the EU Referendum? The two – excellent – plays I have managed to see since the UK voted to leave on 23 June, have both, in a strange way, deepened my Brexit despair too. Neither Florian Zeller‘s The Truth nor Faith Healer by […]
Revival of the late Brian Friel’s 1979 classic is brilliantly acted, beautifully directed and haunting in its ambiguity.
Directed by Lyndsey Turner, Brian Friel’s 1979 play about the possibility of genius but the uncertainty of failure opened at the Donmar Warehouse last night. Faith Healer continues until 20 August 2016. Here’s what critics have been saying…
A veil of rain surrounds the stage where three narrators will appear, each with their own version of a shared life “shabby, bleak, derelict”. Yet, in Brian Friel’s eloquent profound vision, it is a life as heartshaking and important. Frank Hardy is an itinerant faith healer, huckster and mountebank working the Celtic fringes; the others his robust old-school vaudeville manager Teddy, and his mistress Grace, who ran away with him despite her father’s fulmination about “chicanery”.
The Donmar Warehouse announces that Ron Cook will complete full casting in Brian Friel’s Faith Healer, joining previously announced cast Stephen Dillane and Gina McKee. Faith Healer is directed by Lyndsey Turner, who returns to the Donmar following her acclaimed productions of Brian Friel’s Philadelphia, Here I Come! and Fathers and Sons. Award-winning Designer Es Devlin joins the creative team, her first time designing at the Donmar.
Artistic Director Josie Rourke today announces a new Spring Season of three plays which includes: Welcome Home, Captain Fox!, a new version of Jean Anouilh’s Le Voyageur Sans Bagage by Anthony Weigh, directed by Blanche McIntyre; a world premiere of a new play by Nick Payne, Elegy, directed by Josie Rourke; and a revival of Brian Friel’s Faith Healer, directed by Lyndsey Turner and starring Stephen Dillane and Gina McKee.