Stage and screen star Ian McKellen has been named number one in The Stage 100, ‘the definitive guide to the most influential figures working in the UK theatre and performing arts industry today’. He is the first actor to ever top the list.
Lucy Prebble’s latest tells the story of the murder of Alexander Litvinenko in A Very Expensive Poison, but prefers buffoonery over analysis.
In A Very Expensive Poison Lucy Prebble has serious arguments to outlay about the relationship between international governments and narrative misdirection, but the broadly comic approach to presentation feels at odds with the meaning of the play.
It is easy to see why a film set mainly in a recording studio is so suited to the stage and Tom Scutt has created a beautifully balanced and unusual piece of theatre in Berberian Sound Studio.
Adapter Joel Harwood and director Tom Scutt have wisely spattered plenty of black comedy throughout their superbly tense production of Berberian Sound Studio.
As chilling as it is fascinating, Tom Scutt’s production of Berberian Sound Studio is an effective slow-burner that captures the audience’s attention as much as their imagination.
he beauty of seeing a show several times is that you can take in so many different things across the hours you spend in a theatre with it. With it being Emma Rice (and, let’s face it, Katy Owen) I’d booked four tickets in advance of seeing Wise Children.
Mark Shenton offers reviews, news, interviews and tweets of the week from the West End, Broadway and beyond.
Donmar Warehouse’s outgoing artistic director Josie Rourke has announced today two new productions as part of her final season, both with rising directorial talents at the helm.
Julie may well be far from a definitive interpretation of Strindberg’s classic, but nonetheless makes for an evening of thought-provoking theatre.
While Polly Stenham retains plenty of Strindberg’s purpose, Julie doesn’t go quite far enough in remoulding the political and psychological shape of its characters for the 21st century.
The business of Summer & Smoke at the Almeida Theatre is handled with such subtly that it allows the deep emotional connection at the heart of the story to flourish. With a magnetic central pairing, Rebecca Frecknall’s production is unmissably beautiful, and the Almeida at its finest.
Because this is an exceptional year, imperfections seem more glaring, plays that haven’t quite found their rhythm are more obvious, and Amy Herzog’s new play Belleville, premiering at the Donmar Warehouse, relies on excellent central performances to cover its dramatic weaknesses.
The grounding comes in Kwame Kwei-Armah’s decision to transplant the play to 1950s Caribbean and in the casting of Nikki Amuka-Bird as Doctor Wangel’s second wife, Ellida giving her racial difference added weight as the family outsider and to her feelings of restlessness.
Nikki Amuka-Bird is captivating as Ellida, and Ellie Bamber as Hilde and Helena Wilson as Bolette are wonderful as the daughters, their strength, intelligence and humour tempered with the fragility of living in a world owned by men.
It’s a radical rewrite. Gone is a lot of the mystery and the poetry of the original. In their place is a contemporary, accessible version which emphasises realistic psychology (a lot of backstory detail) and social realism (a lot of childcare detail).
In what is unquestionably a Superstar for the 21st century, Timothy Sheader’s Jesus is no long-haired prophet. In an electrifying performance that captures both Christ’s charisma and his flawed vulnerability, Declan Bennett’s Messiah is a powerfully charged hipster.
Terence Rattigan’s best play stars Helen McCrory in an uncertain production that attempts an emotional update.
New one from Nick Payne explores brain science and female relationships, but is just a bit too superficial.
Christopher Hampton’s great adaptation of this 18th-century classic triumphs, despite a poor performance from Dominic West.
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