All’s Well is the definition of a tricky play, with its combination of the fantastical and the emotionally brutal, its historically specific yet confusingly vague setting and its hard-nosed, difficult to love characters. Embracing the oddness is probably the only way to make it work on stage but, despite some promising ideas and strong individual performances, Blanche McIntyre’s production does not feel coherent.
‘Ludicrous & surprisingly moving’: THE REST OF OUR LIVES – Edinburgh Festival Fringe
The Rest Of Our Lives at Summerhall, Edinburgh ends in a remarkable moment of mass dancing as the audience descends on the stage, suddenly finding themselves at full emotional stretch thanks to an unashamed expression of personality from these two delightful performers.
‘Exceptional & thrilling dance’: ANTIGONE, INTERRUPTED – Edinburgh Festival Fringe
Antigone, Interrupted is exceptional and thrilling dance and, like several productions at this year’s Fringe, reverts to Greek myth to provide stories for our trouble times, with remarkable results.
‘Remarkably revealing & painfully honest’: THE SILENT TREATMENT – Edinburgh Festival Fringe
Sarah-Louise Young is brisk, charming and authoritative, engaging the audience in vocal warm-ups as they take their seats. Her confident stage demeanour sets the scene for one-woman show The Silent Treatment at Summerhall that becomes remarkably revealing and painfully honest.
‘Carefully choreographed & absorbing’: THE LAST RETURN – Edinburgh Festival Fringe
Sara Joyce’s production of The Last Return for Druid Theatre at the Traverse is carefully choreographed and absorbing. Sonya Kelly has re-imagined Ionesco for the post-colonial era, and leaves us feeling we’ve seen something we won’t forget in a hurry, even if its exact meaning is elusive.
‘Elements of the story connect in ways that surprise’: PATRIOTS – Almeida Theatre
Peter Morgan’s new play Patriots at the Almeida Theatre is a history lesson, filling in the gaps in our understanding of how we ended up where we are now. Specifically, it connects events in Russia after the fall of Communism with the high profile deaths in the UK of Russians who had fallen out with Vladimir Putin and, more implicitly, with the invasion of Ukraine and the state of Russia today.
‘It is definitely the kind of theatre we need’: THE DANCE OF DEATH – Arcola Theatre
Lindsay Duncan and Hilton McRae reveal the full depths of The Dance of Death’s ambiguity in production that is funny and strangely touching. Directed by the Arcola’s own Mehmet Ergen, the couple – married in real life – interact with a naturalness that takes the edge off their barbed attacks on one another, even as they push one another further and further and, almost, over the edge.
‘Tightly choreographed & highly absorbing’: THE LESSON – Southwark Playhouse
It says something about national cultures that the French equivalent of The Mousetrap is Eugène Ionesco’s short play, The Lesson. It has been running at Théâtre de la Huchette in Paris since 1951, and is as far from the contained, comforting threat of Agatha Christie as drama has to offer.
‘Kirkwood’s ambition is admirable’: THAT IS NOT WHO I AM – Royal Court Theatre
That Is Not Who I Am by Dave Davidson – Royal Court Theatre, London (This review consists almost entirely of spoilers) The nudge-nudge cover story for this play – that it’s the debut by someone who has worked in ‘the security industry’ for 38 years – is fairly transparent, and suspicions are confirmed when the Royal Court’s … Continue reading That Is Not Who I Am
‘An exceptional piece of theatre’: GIRL ON AN ALTAR – Kiln Theatre
An exceptional piece of theatre, Girl on an Altar at the Kiln Theatre remakes a story that is part of Western cultural heritage, with deceptive ease, as though it could have happened yesterday.
‘An alarmingly current piece of work’: THE FATHER & THE ASSASSIN – National Theatre
Anupama Chandrasekhar’s new play The Father And The Assassin about Nathuram Godse, the man who murdered – assassinated – Mohandas Gandhi in 1948, is an alarmingly current piece of work, but you wouldn’t know that from watching it.
‘Judged just right’: MUCH ADO ABOUT NOTHING – Globe Theatre
The Globe’s main, outdoor theatre has not staged shows with a full audience since the summer of 2019, so the opening of its summer season with Lucy Bailey’s production of Much Ado About Nothing feels like an occasion.
‘The real reason to see the play is for Walker’: THE CORN IS GREEN – National Theatre
However, Dominic Cooke’s production of Emlyn Williams’ play The Corn Is Green makes a good case for reviving it but the real reason to see the drama is for Nicola Walker.
‘Ralph Fiennes is in his element as a man whose tragic flaw will clearly be his downfall’: STRAIGHT LINE CRAZY – Bridge Theatre
David Hare’s new play is a history lesson. New York city planner Robert Moses shaped the modern city by supplying it with expressways and parkways.
‘Sets a new standard for future productions of Shakespeare’s problematic play’: THE MERCHANT OF VENICE – Sam Wanamaker Playhouse
The Merchant of Venice is seen as a problematic play but, increasingly, it seems that the problems are with us, as much as they are with Shakespeare.
‘Lyndsey Turner’s production is expertly crafted’: AFTER THE END – Theatre Royal Stratford East
Dennis Kelly’s 2005 play After The End is set inside a nuclear fallout shelter, so it is not surprising that it deals with situations beyond the boundaries of what passes for normality.
‘A confused approach manifests itself in a very uneven set of performances’: HAMLET – Sam Wanamaker Playhouse
Sean Holmes’ new production of Hamlet in the Globe’s indoor space opens with a snatch of “Oh mother I can feel the soil falling over my head”, from The Smiths’ song ‘I Know It’s Over’.
‘The kind of work that, in ten years’ time, people will still be wondering at’: THE GLOW – Royal Court Theatre
The concept is like a Doctor Who plot opened up beyond the confines of a genre, to encompass limitless possibilities. It is both enthralling and disturbing.
‘Dynamic, energetic & paced like an 800m race’: FAIR PLAY – Bush Theatre
Ella Road’s new two-hander is set in the world of track athletics, but the two characters, Ann (NicK King) and Sophie (Charlotte Beaumont) are not just any runners.
‘Always compelling to watch’: MEASURE FOR MEASURE – Shakespeare’s Globe
For her last production at Sam Wanamaker Playhouse, Blanche McIntyre expertly conjured the life of a city onto a tiny stage. Her Measure for Measure is another city play, but of a very different kind.