The full cast has been announced for the West End transfer of Robert Icke’s new adaptation of Mary Stuart. Following a critically acclaimed, sold out season at the Almeida Theatre in 2016-17, the production will open at the Duke of York’s Theatre from 15 January for a limited run before visiting Theatre Royal Bath, Salford Lowry and Cambridge Arts Theatre.
Theatre Royal Bath will present three new in-house production in its spring 2018 season: new Harley Granville Barker discovery Agnes Colander, directed by Trevor Nunn; the UK premiere of Samuel D Hunter’s The Whale; and Simon Reade’s take on Arthur Conan Doyle, Sherlock Holmes: The Final Curtain.
Following her acclaimed performance in Trouble in Mind at the Theatre Royal Bath last year, Olivier nominated actress Tanya Moodie will reprise her role as Wiletta in Laurence Boswell’s production when it transfers to London this autumn.
All hail the queens. Following a critically acclaimed, sold-out season at the Almeida in 2016-17, Robert Icke’s new adaptation of Schiller’s Mary Stuart transfers to the West End’s Duke of York’s Theatre in January. TICKETS ARE NOW ON SALE VIA MATES.
Laurence Boswell’s Theatre Royal Bath production of Daniel Kehlmann’s THE MENTOR transfers to the West End, starring Hollywood’s F Murray Abraham.
Theatre Royal Bath has today released production photography of the 40th anniversary, West End-bound production of Mike Leigh’s Abigail’s Party starring Amanda Abbington.
Jonathan Church has announced a season of five plays – including the UK premiere of Hitchcock’s North by Northwest onstage – for his first summer at Theatre Royal Bath, with actors including David Haig, Henry Goodman and Edward Fox.
The bank holiday is behind us and it’s goodbye to summer. The consolation is a jam-packed autumn theatre season. Here are a few of the most notable London openings this month that you should keep an eye out for…
Felicity Kendal stars in A Room with a View, adapted from EM Forster’s novel by Simon Reade and directed by Adrian Noble. Full cast is now announced for the production which opens for a two-week run at the Theatre Royal Bath from 28 September to 8 October 2016, before touring until 3 December to Brighton, Richmond, Guildford Norwich, Cambridge and Chichester followed by a West End transfer.
Theatre Royal Bath Productions and Menier Chocolate Factory Productions today announce the West End transfer of the critically acclaimed production of Florian Zeller’s The Truth following a smash-hit sell out run at the Menier earlier this year, where it broke box office records for a straight play. Lindsay Posner’s production transfers to the Wyndham’s Theatre, for a strictly limited 11 week season – opening on 27 June 2016, with previews from 22 June, and runs until 3 September.
Is Florian Zeller the new Yasmina Reza? Certainly, he’s the most successful French playwright to hit English shores since Reza, whose 1990s hits – Life x 3, The Unexpected Man and, of course, the long-running (eight years in the West End), starry cast-rotating Art – were followed more recently by 2006’s God of Carnage in […]
THE EMPTY NEST, THE TROUBLED MIND Hold tight. It’s the French genius litterateur Florian Zeller messing with our heads again. We are confused, wary, deceived and unsettled by the tricks of emotional distress and delusion, imaginary conversations which might … Continue reading →
With Funny Girl running at its home base in Southwark and preparing for a West End transfer (to the Savoy Theatre), Close To You – Bacharach Reimagined in the West End (at the Criterion Theatre), and The Color Purple on Broadway, the Menier Chocolate Factory today announces the UK premiere of Florian Zeller’s The Truth in a new version by Christopher Hampton. The production runs 10 March to 7 May 2016, with a press night on 16 March.
With her world premiere production of Marcus Gardley’s A Wolf in Snakeskin Shoes in previews from this week, Artistic Director of the Tricycle Theatre, Indhu Rubasingham, today announces the company’s 2016 spring/summer season. The season opens with the transfer of Florian Zeller’s The Mother, starring Gina McKee (pictured), from Theatre Royal Bath, following the critically acclaimed run of Zeller’s The Father …
Following successful runs at the Ustinov Studio in Bath and the Tricycle Theatre in London, Theatre Royal Bath Productions and the Tricycle Theatre will transfer Florian Zeller’s Moliere award-winning play, THE FATHER, starring Kenneth Cranham and Claire Skinner, to London’s Wyndham’s Theatre for a limited season, Wednesday 30 September-Saturday 21 November. In the two weeks prior to the transfer, the production will play a very limited run at Cambridge Arts Theatre, 15-26 September.
It’s the last chance this week to catch the French playwright Florian Zeller’s mind-bending play The Father, in which the father of the title (played with heart-rending bluster and vulnerability by Kenneth Cranham) and his descent into dementia has unsettling consequences for all around him – and all watching. After its limited season at London’s Tricycle Theatre, The Father has returned for one final week at Theatre Royal Bath, where it had its English language premiere last year and where it follows the UK premiere this year of Zeller’s earlier companion piece The Mother (which was first seen in France in 2010, two years before The Father).
Due to popular demand, Theatre Royal Bath Productions has announced an additional six-week run of Joshua Harmon’s Bad Jews at London’s Arts Theatre. The critically-acclaimed production, which was due to finish its limited season at the Arts on 30 May, will now continue until 11 July 2015, following sell-out runs at Ustinov Studio, Bath and St James Theatre, London.
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THE DARKNESS OF DEMENTIA Devastating. No other word for it. Without sentimentality, in Christopher Hampton’s powerfully simple translation, the French playwright Florian Zeller leads us into the unknowable, all-too threatening realm of dementia. In a mere 90 minutes James Macdonald’s … Continue reading →
Whenever I see this beloved play again, I wish it was my first time. It should be seen in youth – when the dread of embarrassing parents getting emotional is at its height ; and again in middle-age, to empathize with Judith Bliss’ envy of the fresher generation.