Originally directed by Philip Seymour Hoffman and performed by LABrynth Theatre Company, Stephen Adly Guirgis’ Olivier-nominated Jesus Hopped the ‘A’ Train, returns to London in a striking revival directed by Kate Hewitt.
Pulitzer Prize-winning writer Stephen Adley Guirgis doesn’t pull any punches with his tough, uncompromising prison drama Jesus Hopped the ‘A’ Train at the Young Vic Theatre.
This revival of Stephen Adly Guirgis’ Jesus Hopped the ‘A’ Train is a layered story of two violent criminals, the system they hope can save them and the redemptive power that comes from confession.
Jesus Hopped The ‘A’ Train is gripping from start to finish, laced with black humour and a play that will have you questioning your reactions and beliefs.
Nightfall is peppered with amusing lines, which are like pithy sayings providing us with observations about a range of topics. Certainly, Nightfall could be perceived as giving us a social commentary about a variety of issues.
The world of Nightfall is small and intimate but the Bridge is neither of those things and the intricacies of Norris’ writing becomes lost like the wafting smell of interval madeleines.
Though there are certainly something things to like about this production of Nightfall – Rae Smith’s set and some glimmering gems of dialogue – it is largely a limping story with little sense of its own scale that shies away from bold, political statements about poverty and forgotten people in modern Britain.
Nightfall is a subtle affair that is funny and quietly affecting – the production is beautifully designed and features some outstanding performances.
Nightfall, a sensitive play about the impact of grief on one family’s life, might be slow to unravel but is completely relatable and engaging.
There was a 15-minute delay to the commencement of Nightfall on the occasion of this review, with an actor delayed on public transport. Sadly that delay was all too short, as what followed was a play that promised so much but delivered little more than poorly performed pretensions.
Named as one of the 1,000 most influential Londoners by the Evening Standard, Barney Norris’ latest play, Nightfall, has just opened at the very high-profile Bridge Theatre.
With a fine-tuned cast, Rae Smith’s immense and atmospheric set and Laurie Sansom’s direction, Barney Norris’ intense personal and social observation command attention: from a dangerously slow-burn start it proves to be not only an engrossing play but quite an important one.
Ophelia Lovibond, Ukweli Roach and Sion Daniel Young star in the world premiere of Barney Norris’s Nightfall at the Bridge Theatre.
It feels important to recognise what the NT (and the Old Vic) were trying to achieve, though. Queer Theatre looked “at how theatre has charted the LGBT+ experience through a series of rehearsed readings, exhibitions, talks and screenings” and if only one looked at lesbian women, two of the readings were written by women.
McCraney is now an Oscar-winning writer after the phenomenal success of Moonlight (based on one of his unproduced plays) and RuPaul has dragged drag into the mainstream
The play centres around the house ball culture mostly based in the US, and takes place over the course of 24 hours. We follow the journey of the House of Light *snaps* as they get ready for a ball thrown by their rivals, House of Diabolique.
A Theatre Trip for Every Child, Lewisham is a new giving scheme to provide a free theatre ticket for every 5-year-old in the Borough of Lewisham. ‘Every Child’ enables businesses and individuals to give a local child the chance to experience the magic of theatre.