Caryl Churchill’s Glass. Kill. Bluebeard. Imp. at the Royal Court is wonderfully bright and incisively perceptive.
As a body of work, Caryl Churchill’s four plays Glass. Kill. Bluebeard. Imp complement each other well and offer a bold social commentary that is dark, foreboding and surreal.
Glass. Kill. Bluebeard. Imp creates an essential piece of new writing – edgy, haunting and disconcertingly relevant and Caryl Churchill, at the age of 81, is still the playwright for our times.
“Thrilling”, “illuminating” & “excellent” – Headlong’s new production of Richard III has impressed critics in both Bristol, where it opened earlier this month, and at Alexandra Palace, where it continues until 31 March. Take a look at the fantastic reviews we’ve gathered together, then book your tickets!
Forgive me for blending my Shakespeares, but when I try to summarise Headlong’s Richard III, the phrase that comes to mind is pure sound and fury. And wicked good fun, too.
Truly great acting is rare to see on stages these days, the type that elevates good work into a higher form of art. Yet right now at Bristol Old Vic, Tom Mothersdale’s Tricky Dicky, Richard III, is music, verse and sculpture of the highest order.
Mirrors, mist and paper crowns – the world of Headlong’s Richard III looks dark, Gothic and ominous. Check out these stunning production shots from the touring production’s run at Bristol Old Vic, then book your tickets for its run at London’s Alexandra Palace!
Alexandra Palace Theatre, which hosts Richard III from 13 to 31 March 2019, entertained audiences of thousands during its Victorian heyday, but has been closed to the public for 80 years. Thankfully it is open once more and co-producing the Shakespearean classic. Take a look at the fascinating restoration process.
Crowns, contortion and the most neatly arranged mood wall you’re ever likely to see – take a look into rehearsals for Richard III, then book your tickets to see it as it comes to the newly restored Alexandra Palace Theatre from 13 to 31 March 2019!
Far from a winter of discontent, March 2019 is the spring of excitement, as Alexandra Palace mounts its first ever co-production, staging Shakespeare’s Richard III with Headlong, Bristol Old Vic, Royal & Derngate Northampton and Oxford Playhouse. The history play runs in the newly restored London venue from 13 to 31 March.
Dealing With Clair at the Orange Tree Theatre is a brilliant revival of Martin Crimp’s savage satire on human greed and male attitudes to women.
You enter dark places when you enter the Royal Court and sometimes that can be enthralling and exhilarating. But there needs to be some kind of uplift. Sadly this time, it wasn’t present.
An overwhelmingly powerful new play about motherhood and psychological collapse: Lesley Sharp amazes in The Woods at the Royal Court Theatre.
The title of Annie Baker’s new play, John, is the epitome of the ordinary but turns out to be quite the opposite. The piece is essential to understanding the excitement new writing can generate.
Annie Baker’s absorbing and quirky John, which has just opened on the National Theatre’s Dorfman stage, is a slow burner full of the playwright’s trademark long-drawn-out silences and awkward conversations.
I was completely swept up in the curious little world of John at the National’s Dorfman Theatre. In Annie Baker’s rich, multi-layered, intricate writing.
Following the success of The Flick, which had its UK premiere in the Dorfman in 2016, Annie Baker’s latest play, intriguingly called John, makes its London debut in the same space.
New epic about mothers and daughters in the age of oil is wonderfully ambitious, but deeply unhistorical.
Katie Mitchell’s revival of Sarah Kane’s 1998 play sees it as a ghastly nightmare, but overburdens the text with too many additions.