New Perspectives and Tim Crouch have transformed novel House Mother Normal into a digital installation for the Brighton Festival which you can explore either in person or on your screens.
Moments of dark humour are scattered throughout Edition #6 of the Royal Court’s Living Newspaper but elsewhere it is a bit more hit and miss.
I’ve selected 20 of the things that inspired, moved, amused and delighted, which have pushed the boundaries of what it possible and continued to fly the flag for theatre in the UK.
One of the knock-on effects of the current pandemic is that theatres have had to rise to the challenge of being ever more inventive in terms of form and content; Letters from The Gate Theatre follows this trend.
Tim Crouch’s series of performances as overlooked characters in Shakespeare is a fascinating body of work. He has been developing these one-man shows (with assistance) for more than 15 years.
I, Malvolio is Tim Crouch’s retelling of Shakespeare’s Twelfth Night through the eyes of the blighted and picked-upon puritan, Malvolio. It’s the fourth time Crouch has written such an adaptation, which he hopes will “unlock Shakespeare for young audiences”.
I, Cinna is a small masterpiece of unshowy writing and performance that is some of the best small-scale theatre of its time, equally satisfying to audiences of young people and adults.
Total immediate collective imminent terrestrial salvation. Quite a handful of a title to get hold of. But unlike much printed on the front of the bottle these days, it is what it says. It is a total immediate collective imminent terrestrial salvation – of sorts.
Random and topical thoughts and quotes gathered by My Theatre Mates contributor Aleks Sierz, first published on www.sierz.co.uk. Favourite stage direction: “There are two printed versions of this play. One is exclusively used by the actors and audience in the performance. The actors read most of their lines from that book. They invite the audience to turn the pages with …
Tim Crouch returns! And Total Immediate Collective Imminent Terrestrial Salvation at the Royal Court, his experimental exploration of belief and determinism, is touched by genius.
Original History Boy Samuel Barnett takes on the 10 Questions for 10 Years challenge.
Three new plays by Caryl Churchill and a first mainstage appearance by Bezhti author Gurpreeet Kaur Bhatti are among the highlights of the Royal Court Theatre’s next season, a whole year of work which spans from September 2019 to August 2020.
The Gate Theatre has announced its next production, Dear Elizabeth, a two-hander by award-winning US playwright Sarah Ruhl, directed by Ellen McDougall. The piece, running at the venue from 17 January to 9 February 2019 (press nights are 22 and 23 January 2019), will be performed by a series of guest actors including Travis Alabanza, Jade Anouka, Tim Crouch, Tamsin Greig and Alex Jennings.
Beginners just isn’t engaging enough for adults and children alike for much of the time and I wish the playful element had been consistent because the emotional aspects failed to hit the mark.
Whimsical design, innovative dramaturgical devices and an unwilling to patronise young people with obvious storytelling combine to create Beginners, a marvellous and thoughtful piece of theatre for all ages.
I was gutted when I found out Janet Adler and Margaret Gibb aren’t real. The portrait Tim Crouch paints of this fictional couple and their anti-capitalist approach to their art, in striking contrast to a deranged Method actor and her coach making a film about Adler’s life, is so well-formed that they feel that that they can’t not be real.
Anthony Neilson’s newly devised piece is both a comic masterpiece and a disappointingly unbalanced work.
The Royal Court Theatre has announced the final productions in its season marking the 60th year of the English Stage Company. Highlights for the remainder of 2016 include two major premieres by EV Crowe and Lucy Kirkwood and a new short play by Caryl Churchill, whose Escaped Alone returns in 2017 ahead of a tour and New York transfer.
GRIEF, ILLUSION, PLAY… You can’t label this extraordinary two-hander by Tim Crouch as “experimental” theatre, even though it uses a different – wholly unprepared – second actor every time, involves secret audio and audible muttere briefings and a handing over … Continue reading →
Every week, a group of regular, dedicated, independent theatre bloggers gather together for intelligent discussion “from the audience’s perspective” about plays and musicals they’ve recently seen in London. Lively, informed and entertaining. On this week’s programme: An Oak Tree, Violence and Son and Face the Music.
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