This fascinatingly powerful new play from Cordelia Lynn examines the vicious cycle of politics, history and discrimination through the eyes of one couple.
‘Possesses an up-to-the-minute urgency’: LIVING NEWSPAPER #3 – Royal Court Theatre (Online review)
The third edition of Royal Court’s Living Newspaper moves online only, with some seriously fierce political writing this time around.
‘Linguistically agile, theatrically pleasurable & emotionally dark’: GLASS. KILL. BLUEBEARD. IMP – Royal Court Theatre
Caryl Churchill’s Glass. Kill. Bluebeard. Imp. at the Royal Court is wonderfully bright and incisively perceptive.
‘Use of the grotesque & social critique is highly sophisticated’: GLASS. KILL. BLUEBEARD. IMP – Royal Court Theatre
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.
‘Churchill’s fine writing has the cast to match’: GLASS. KILL. BLUEBEARD. IMP – Royal Court Theatre
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.
FEATURED SHOW: Check out the ★★★★ reviews for Headlong’s ‘heart-stopping’ Richard III at Alexandra Palace
“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!
‘Riveting & aesthetically smashing production’: RICHARD III – Alexandra Palace
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.
‘Deserves to be seen far & wide’: RICHARD III – London & Touring ★★★★★
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.
PRODUCTION IMAGES: Step into the dark, reflective world of Headlong’s Richard III
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!
BEHIND THE SCENES: Discover more about the restoration of Alexandra Palace’s Victorian theatre before the arrival of Richard III
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.
GALLERY: Peek into rehearsals for Headlong & Alexandra Palace’s exciting new version of Richard III
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!
NEWS: Shakespeare returns to Alexandra Palace with Headlong co-production of Richard III
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.
‘A masterpiece of contemporary new writing’: DEALING WITH CLAIR – Orange Tree Theatre
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.
‘I just wish I could have felt more engaged’: THE WOODS – Royal Court Theatre ★★★
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.
‘A blazingly acted & triumphantly imagined piece of new writing’: THE WOODS – Royal Court Theatre
An overwhelmingly powerful new play about motherhood and psychological collapse: Lesley Sharp amazes in The Woods at the Royal Court Theatre.
‘A playwright who is changing expectations of theatre’: JOHN – National 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.
‘Masterly characterisation’: JOHN – National Theatre ★★★★
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.
‘Beguiling, haunting & mesmerising’: JOHN – National Theatre
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.
‘Intriguing examination of the fear of being judged’: JOHN – National Theatre
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.
OIL – Almeida Theatre
New epic about mothers and daughters in the age of oil is wonderfully ambitious, but deeply unhistorical.
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