Jack McNamara’s The Fishermen is the powerful adaptation for the stage by Gbolahan Obisesan of Chicgozie Obioma’s novel and carries the author’s dramatic intensity and humour to Trafalgar Studios.
The Girl Who Fell, the new play by acclaimed Adult Supervision author Sarah Rutherford, gets its world premiere at the West End’s Trafalgar Studios 2, running from 15 October to 23 November 2019.
As part of her ongoing post-show Q&A series, Mates co-founder Terri Paddock is back at London’s Trafalgar Studios on 7 October for the hotly anticipated West End revival Peter Nichols’ A Day in the Death of Joe Egg. Got any questions for director and cast?
Can we ever really know what happened between two people behind closed doors? That’s the question at the heart of Anna Zeigler’s provocative new two-hander Actually, and one the company, audience and I grappled with after last week’s performance at Trafalgar Studios.
Anna Ziegler’s Actually is a journey into sexual consent, following a drunken hook up of two college students, and the different perspectives on their encounter.
Love London Love Culture rounds up the reviews for Oscar Toeman’s production of Anna Ziegler’s new play Actually.
Tom points out that the weight of evidence required for either of their stories to be believed could be “fifty percent plus a feather”. It’s a potent image that echoes throughout the play’s talky but engaging 90 minutes.
Actually is a complex play that explores more than consent, it raises questions about attitudes towards sex and relationships, race, religion, upbringing and family.
Actually has its issues as a drama and the heavily discursive competing narratives approach limits how the play is staged that can feel repetitive at times, but Ziegler has created a scenario and two complicated people who feel credibly drawn.
Set against the backdrop of Princeton University, Actually provides a reminder that, even in the era of #MeToo and #TimesUp, there remain plenty of grey areas when it comes down to defining assault and determining consent.
Ned Bennett’s direction is another star of the show; the relationship between Ira Mandela Siobhan as Nugget, a Chestnut horse who has a close relationship with Strang, is stunning.
How many different ways can one play be interpreted? The company of Equus were very keen not to impose their opinions but the audience at last night’s post-show Q&A at Trafalgar Studios had plenty of their own. Which were right? All of them! And what a knowledgeable audience it was. Many had seen this or other previous […]
Touching on themes of religion, sexuality and more than one form of mental illness, the play asks some difficult questions and frequently makes for unsettling viewing, and yet Ned Bennett’s production remains utterly compelling from start to dramatic finish.
Equus remains a fascinating, if dated, piece of writing from Peter Schaffer, exploring the psycho-sexual complexities of the adolescent Alan Strang, a boy who has just, horrifically, blinded six horses.
Ned Bennett’s production of Equus for the English Touring Theatre and Theatre Royal Stratford East has transferred to the Trafalgar Studios – but what do critics think of it?
Equus is an intriguing play, part psychological thriller, part mirror to the human condition and this is an almost thoroughbred production.
Toby Stephens and Claire Skinner will make their long-awaited returns to the West End stage this autumn in Peter Nichols’ play A Day in the Death of Joe Egg.
Dark Sublime is a rare personal drama about an older gay woman trying to find her place and identity in a changing world, with plenty of laughs – particularly aimed at the world of showbiz – and some interesting questions about the nature of fandom.
Carrying on a new series, our editor Lisa Martland has picked out her Top Picks from the last week including Anne Cox’s thoughts on Present Laughter, while Aleks Sierz reports from Bitter Wheat.
Dark Sublime is a long play and while it contains some really good material it would benefit from being trimmed back to make it slicker and more focused.