The Almeida Theatre has announced a new season for 2021. Highlights include: The Tragedy of Macbeth, directed by Yaël Farber, featuring Olivier-nominated James McArdle and four-time Academy Award-nominated Saoirse Ronan, making her UK stage debut.
The National Theatre’s 2016 production of Les Blancs was directed by Yaël Farber and used the full resources of the Olivier stage to transmit its full force.
Artistic director Rachel Edwards has announced the Boulevard Theatre’s 2020 season. The new venue opens on 24 October 2019 with Dave Malloy’s Ghost Quartet, directed by Bill Buckhurst with a late night and Sunday programme running alongside.
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.
Marina Carr’s coherent vision for Blood Wedding delivers a production that is unforgiving, creating a portentous world in which notions of love and freedom will always be trampled by the stronger inheritance of history, violence and family legacy
The Young Vic’s artistic director Kwame Kwei-Armah has announced the venue’s 2019 season which includes Marianne Elliott directinf Death of a Salesman by Arthur Miller, with Wendell Pierce, Sharon D. Clarke and Arinzé Kene cast as Willy, Linda and Biff Loman.
Yaël Farber directs David Harrower’s play Knives in Hens at the Donmar Warehouse, where it runs until 7 October 2017. Here Love London Love Culture rounds up all the latest reviews
Star director Yael Farber’s revival of a 1990s classic is surely atmospheric, but it lacks symbolic weight.
It is dark. An earth floor, plank stable door, murky pond. Sometimes a candle is lit, but Soutra Gilmour’s set remains tenebrous, primitive.
Really, the kindest thing to do about Yaël Farber’s Salomé is quietly to draw a veil over it. There is bad theatre and then there is very bad acting. Sadly, Farber’s Salomé falls into the latter category.
Is God female? It says a lot about Yaël Farber’s pompous and overblown new version of this biblical tale at the National Theatre that, near the end of an almighty 110-minute extravaganza, all reason seemed to have vacated my brain, and its empty halls, battered by a frenzy of elevated music, heaven-sent lighting and wildly gesturing actors, were suddenly open to the oddest ideas.
The National Theatre has announced programme details for its new season running from April to November 2017. In addition to the two inbound political plays heading for the West End – the European premiere of Broadway hit Oslo and the staged reading All the President’s Men? – Scenes from the U.S. Senate’s Confirmation Hearings, reported here – highlights include: Jane Eyre returns, following an acclaimed …
Recalling the year past, which is de rigueur for those of us who have spent too many nights in darkened rooms, I’m struck again by the richness and talent of so many shows I’ve seen, particularly in the smaller and Off-West End and Fringe venues.
artistic director Rufus Norris announced the flagship institution’s 2017 season which will include four world premieres – including a current work-in-progress on the state of Brexit Britain – two European premieres and new work by Inua Ellams, Yaёl Farber, DC Moore, Lindsey Ferrentino and Nina Raine.
New entries this week are The Invisible Hand at the Tricycle Theatre and The 3 Penny Opera at the Natonal, and its the last chance to see Les Blancs, The Flick and People, Places and Things
New entries this week are the return of Funny Girl, transferred from the Menier to the Savoy, and A Midsummer Night’s Dream at the Globe.
The night after opening in the West End, Daniel Evans Sheffield Crucible production of Show Boat shoots straight into the top slot of Mark Shenton’s regularly updated list of top ten ticket recommendations. What are the other risers and fallers. Follow links to book tickets.
New entries this week in Mark Shenton’s Top Ten recommendations are Les Blancs at the National and How the Other Half Loves in the West End. Get tickets for all ten shows here.
This play is not about the American backwash from the slave era, but a shattering, important take on Colonial Africa, an unnamed country on the edge of revolution and independence. It is by Lorraine Hansberry (better known for A Raisin In The Sun) who died before it was finished; on the page I suspect would be weaker, though God knows the points it makes are valuable.
After re-visiting The Book of Mormon, it makes it into this week’s Top Ten; so does People, Places and Things, newly transferred from the National to the West End. Plus, this week’s openings and other recommendations.
- Page 1 of 2