What may have worked as a leisurely memoir, consumed over a period of a few weeks, fails to ignite in Vanessa Redgrave’s Vienna 1934-Munich 1938.
Amidst editor Lisa Martland’s seven Top Picks from the last week of theatre are Libby Purves’ description of her blissful time at Nicholas Hytner’s immersive production of A Midsummer Night’s Dream at the Bridge Theatre and Aleks Sierz’s thoughts on the Kiln Theatre’s new opening, Samuel Adamson’s take on A Doll’s House in Wife.
The Ustinov studio concludes its season of premieres from the Americas with a slow-burning gem from Argentina, The Omission of The Family Coleman, Claudio Tolcachir’s cult Buenos Aries hit that played for four years in Tolcachir’s kitchen-slash-theatre, now adapted and relocated to Ireland by Stella Feehilly.
Tanya Barfield’s Blue Door is a dense, thoughtful 85-minute work that sometimes purrs in the Ustinov Studio.
Donald Margulies’ The Model Apartment is a typical choice for the Ustinov, a work whose meaning and its overall effect will continue to burrow under the surface of its audience members for weeks to come.
Terence Rattigan was understandably consumed with thoughts of love and death – and the right way to die – when he wrote his last great play, In Praise Of Love. Dying himself from leukaemia – after an earlier false diagnosis – the writer poured his feelings into this profoundly moving and tragic semi-autobiographical play.
A bold and exhilarating production that, at a time when Brexit is uppermost in our minds, looks at the dark side of patriotism and nationalism.
There’s a lot to process in The Whale, sometimes too much, but make no mistake – this is masterful modern drama.
Following his West End musical turn in Charlie and the Chocolate Factory, Jonathan Slinger will join Tanya Moodie in the London transfer of Alice Childress’ Trouble in Mind at the Print Room.