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.
NEWS: Katherine Parkinson & Vanessa Redgrave join line-up for Theatre Royal Bath’s summer season as new productions are announced
Jonathan Church, artistic director of Theatre Royal Bath’s summer season, has announced further productions and new casting for the 2019 programme. Katherine Parkinson joins Rupert Everett in the cast of Uncle Vanya which he also directs.
‘A landmark play for the ages’: THE INHERITANCE – West End
Sweeping in scope, yet intimate and highly personal in detail, Matthew Lopez’s masterwork The Inheritance balances humour, history and heartbreak to haunting effect.
The Best Theatre & Performances of 2018
Normally I do two of these – Top Ten Shows and Top Ten Performances – but this year I’m combining the two – plus some sundry other awards.
‘Rightly lauded as a major piece of 21st-century theatre’: THE INHERITANCE – West End ★★★★
The Inheritance at the Noel Coward Theatre has been rightly lauded as a major piece of 21st-century theatre and Lopez has a gift for crafting argument and dialogue with sensitivity and innate understanding.
‘May have redefined the gay writing genre for a new generation’: THE INHERITANCE – West End ★★★★★
It would be hard to imagine a play about young gay lives that speaks more eloquently to older gay men than the moving, informative and often hilarious The Inheritance now transferred to the Noel Coward Theatre.
‘Truly soul-enhancing, life-enrichening thing’: THE INHERITANCE – Noel Coward Theatre
After a scorching run at the Young Vic, Matthew Lopez’s The Inheritance makes a well-deserved transfer into the West End.
NEWS: Cast is confirmed for West End transfer of Matthew Lopez’s The Inheritance
Full casting has been announced for the highly-anticipated West End transfer of the Young Vic production of The Inheritance, the new play by Matthew Lopez which will run for a strictly limited season, previewing at the Noël Coward Theatre from 21 September 2018 and opening on 13 October.
‘Surely, this is the crème de la crème of Brodie adaptations’: THE PRIME OF MISS JEAN BRODIE – Donmar Warehouse
Polly Findlay’s fluent production of The Prime of Miss Jean Brodie avoids the fluting exaggerations of some previous versions and tells the story with a fine appreciation of its grounding in the needy emotions of all concerned.
NEWS: Young Vic’s The Inheritance transfers to Noel Coward Theatre in September
Directed by multi Olivier Award winner Stephen Daldry, the Young Vic production of The Inheritance by Matthew Lopez will transfer to the West End, playing a limited season at the Nöel Coward Theatre from 21 September 2018 (opening on 13 October).
‘Instructive for a whole new generation’: THE INHERITANCE – Young Vic ★★★★
In its incorporation of Howards End and the conversation between its fictional literary inspiration and its contemporary – Matthew Lopez – The Inheritance manages to create something wholly fresh and original about denial, truth and progress.
‘May have redefined the gay writing genre for a new generation’: THE INHERITANCE – Young Vic ★★★★★
It would be hard to imagine a play about young gay lives that speaks more eloquently to older gay men than the moving, informative and often hilarious The Inheritance at the Young Vic.
‘A brave and epic piece of new writing’: THE INHERITANCE – Young Vic
The Inheritance is a brave and epic piece of new writing from Matthew Lopez, taking a scalpel to contemporary gay life in New York, asking what does it mean to be a gay man today and just how much of that is owed to an inherited (and neglected) cultural legacy.
NEWS: Vanessa Redgrave, Kyle Soller & full cast announced for The Inheritance premiere
The Young Vic has announced casting, including – in the sole female role – Vanessa Redgrave, for the major world premiere of Matthew Lopez’s The Inheritance, which is directed by Stephen Daldry and runs 2 March to 19 May 2018, with a press day on 28 March.
Five things you may not know about Glenda Jackson… now King Lear
I suppose what I’m driving at is that having swerved from the stage into a political career, my concern was how easily could she take up acting again? The astonishing thing about King Lear is that the answer is seamlessly: with power, and clarity, and complete command of the stage. Given how much acting has changed since 1980, this is astonishing and she deserves to be seen.
Five things you may not know about Glenda Jackson… now King Lear
I suppose what I’m driving at is that having swerved from the stage into a political career, my concern was how easily could she take up acting again? The astonishing thing about King Lear is that the answer is seamlessly: with power, and clarity, and complete command of the stage. Given how much acting has changed since 1980, this is astonishing and she deserves to be seen.
Five things you may not know about Glenda Jackson… now King Lear
I suppose what I’m driving at is that having swerved from the stage into a political career, my concern was how easily could she take up acting again? The astonishing thing about King Lear is that the answer is seamlessly: with power, and clarity, and complete command of the stage. Given how much acting has changed since 1980, this is astonishing and she deserves to be seen.
NEWS: Sheffield Theatres win big at 2016 UK Theatre Awards
UK Theatre has announced the winners of the UK Theatre Awards 2016 – the only awards to honour outstanding achievement in performing, producing and management in theatres throughout the United Kingdom. Sheffield Theatres is the big winner for its two Crucible musical productions of SHOW BOAT and FLOWERS FOR MRS HARRIS, nabbing five prizes in total.
Weekly Theatre Podcast: Richard III, Sideways, Wild
This week the London theatre bloggers discuss Ralph Fiennes in Richard III at the Almeida, Mike Bartlett’s test play Wild at Hampstead and the stage version of Sideways at St James Theatre.
RICHARD III – Almeida Theatre
Ralph Fiennes is a menace. An utter menace. Other actors beware. He will cheat, stab and simply out-act you right off the end of the stage. His command of the audience, the material and everyone else around him is terrifying.
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