A 65 minute tour de force, The Apologists certainly deserves a longer life than the few performances at Omnibus.
Churchill’s vision two decades ago in Far Away now seems even more prescient and accurate of planet Earth’s downhill spiral: endless wars and realignments, climate change, imminent environmental catastrophe.
Despite the challenges, and judging by the Young Vic’s typically youthful, mixed audience, Nora: A Doll’s House is a production to which they can relate and which, so far as I could see, kept them on the edge of their seats.
I loved precisely Persona’s sense of oddness, it’s sense of non-Englishness, Krige’s subtlety and wonder, Mngcwengi’s unspoken defiance and calmness.
Jermyn Street Theatre, London ****
Review: of perf seen January 17, 2020:
© Robert Workman, James Hayes in Krapp’s Last Tape, recalling a moment of bliss on a tape thirty years ago…another haunting…
Krapp’s Last Tape…
Natalie Abrahami makes Ella Hickson’s text and Elizabeth’s story pulsate with the sound of a young woman for whom insecurity runs in every fibre of her being.
The intimacy of the Orange Tree gives Candida the perfect setting for a discussion of moral, spiritual and political ethics.
In Jackie Sibblies Drury’s case, Fairview is very much tied up with the method, the form. She blows the traditional form sky high, introducing repetition, caricature and a final twist.
Land Without Dreams may be difficult, irritating, sometimes alarmingly ‘obvious’ but they also manage to dig further into what it is to be human, coming at us as it were from left-field.
In a mere 90 minutes On Bear Ridge creates a theatrical metaphor of unforgettable power and impact.
Spectators will go away wiser and sadder from this encounter with Shook, but most of all they will go away remembering Samuel Bailey’s dialogue and Josh Finan’s barnstormer of a performance as Cain.
Jemima Rooper, Kate O’Flynn, Zainab Hasan and Joanna Horton carry a lion’s share delivering the vitriol, pain and helplessness of struggling women in [Blank].
Like characters in a book who never die, Laura Wade’s The Watsons at the Menier Chocolate Factory deserves to last forever.
Now, in a daring and radical re-imagining, Marina Carr and Yaël Farber have transported Lorca’s Andalusian tragedy Blood Wedding to a deeply Celtic, Irish setting.
A great memorial, an unforgettable, nuanced testimony, we have to pay attention to what Until the Flood tells us. Listen, feel, and learn. Do see.
Maya Arad Yasur’s Amsterdam had already had an illustrious reception before it hit Paul Miller’s pocket dynamo Orange Tree, Richmond.
Total immediate collective imminent terrestrial salvation. Quite a handful of a title to get hold of. But unlike much printed on the front of the bottle these days, it is what it says. It is a total immediate collective imminent terrestrial salvation – of sorts.
Cordelia Lynn’s Hedda Tesman renews Ibsen’s play in the light of today without in any way losing sight of the original. In this age of radical reinterpretations, that’s quite some achievement.
Donmar Warehouse, London ***
Box office: 020 3282 3808 (No booking fees, £1 postage fee may apply) Telephone Mon-Sat 10am-6pm …
Problematic, troubling, with a cast who give of themselves with unstinting commitment, once again Icke has pulled off a brilliant reframing in The Doctor.