Due to the ongoing impact of the Coronavirus pandemic, Anya Reiss’ adaptation of Anton Chekhov’s The Seagull and Henrik Ibsen’s A Doll’s House, in a version by Frank McGuinness, are both now officially postponed until further notice.
Three Sisters at the National Theatre, Uncle Vanya at the Harold Pinter and The Seagull at the Playhouse Theatre have all taken very different approaches to reworking Chekhov, bringing fresh insight and relevance to a writer whose plays have often felt rather dry.
Here’s LLLC’s weekly guide to some of the shows you might want to book tickets for includes The Wedding Singer at Troubadour Wembley Park Theatre:, Endgame at the Old Vic and The Seagull at the Playhouse Theatre.
Joining the previously announced Emilia Clarke to complete the cast of Jamie Lloyd Company’s The Seagull are Danny Ashok, Robert Glenister, Tom Rhys Harries, Daniel Monks, Tamzin Outhwaite, Patrick Robinson, Seun Shote, Indira Varma and Sophie Wu.
The Jamie Lloyd Company has announced that Emilia Clarke is to make her West End debut as Nina in Anya Reiss’ adaptation of Anton Chekhov’s The Seagull, completing the new season at the Playhouse Theatre.
“This is my first step into the realm of truly professional theatre-making, and, I’ll be honest, I didn’t expect it to be this tough!” Exciting young theatremaker Patrick Bayele doesn’t pull any punches as he tells us about creating new production How To Save The World. Read his fascinating interview, then book you tickets.
“This play is going to change your life.” It’s a bold statement, but you can’t help but believe Patrick Bayele, director of How To Save The World, when you look into his eyes. He believes. Watch the behind the scenes interview with Bayele and his cast, then book your tickets.
As part of her ongoing post-show Q&A series, on Wednesday 31 July 2019, Mates co-founder Terri Paddock visits Hackney’s Studio 9294 for the first time for the premiere of Chekhov-inspired devised piece How to Save the World. Got any questions?
‘We could all be heroes’ promises new interpretation of Chekhov’s classic drama The Seagull, How To Save The World. To find out how, you’ll have to visit Studio 9294 later this month. Book your tickets now!
Anton Chekhov’s classic play The Seagull is brought to modern life in a new version, adapted by Simon Stephens and directed by Sean Holmes. It’s running at London’s Lyric Hammersmith until 4 November 2017. Here’s what critics have been saying about it so far.
Simon Stephens’ version makes no bones about how an obsession for fame can lead to ruin, hell and damnation or all three. Adelayo Adedayo’s Nina is burning to be a ‘celebrity’, idolising Nicholas Gleaves’ driven novelist, Boris.
Critically acclaimed Front Foot Theatre presents its dystopian take on Shakespeare’s most charismatic, tour de force villain, Richard III, in a new production running for a strictly limited season at London’s Cockpit Theatre from 14 October to 4 November 2017.
The Lyric Hammersmith has announced further casting for Simon Stephens’s new version of Anton Chekhov’s highly renowned play, The Seagull, directed by Artistic Director Sean Holmes.
The official 2017 Edinburgh Festival Fringe Programme was launched today with shows catering for all ages and appetites, inviting performers and spectators from around the world to join the Alliance of Defiance and celebrate 70 years of defying the norm at the Fringe.
The Lyric Hammersmith has announced its new season running May 2017 to January 2018, including three major new productions: a UK premiere, a new adaptation of a classic and the return of the now traditional Lyric pantomime.
This week, the London theatre bloggers discuss The Entertainer starring Kenneth Branagh, Chichester’s transfer of its Young Chekhov season to the National, and Home Chat at the Finborough.
This trilogy, transferred from Chichester is an epic: a thrilling voyage through time to the earliest days of Anton Chekhov. And, if it is not too philistine a thing to murmur, it will draw to him even those people who don’t fire up with excitement at the later masterpieces – especially the often morosely played The Cherry Orchard and Three Sisters.
Fortune favours the brave, and the meteorological riskiness of outdoor theatre sometimes pays handsomely. A great heron flew over, squawking doom, just as Irina screamed her frantic possession of the appalling Trigorin and Chekhov’s tragicomic household moved towards disaster. The moon rose over the card-players as beyond the window under a darkening sky Konstantin found a deranged, ruined Nina. The thunderstorm and sluicing rain from behind Jon Bausor’s strange mirrored canopy were false, but the intensity and brooding darkness of old Sorin’s struggling estate were no more or less real than the rustling trees of the real park. Perfect.