Mind the Blog has a fairly wide-ranging wish list of things I hope to see, including major shows such as Sunday in the Park with George, Evita, Magic Goes Wrong, Uncle Vanya and the Jamie Lloyd Company residency at the Playhouse Theatre.
This isn’t a ‘best of’ list it’s my best-of list, these are the plays that shaped me this decade and will stay with me well into the next.
With a new year fast approaching, it is an interesting time to reflect on small changes across the theatre landscape in 2019 that will continue to shape how UK theatre will look as it moves into a new decade.
Here is a snapshot of my favourite theatre from the past 10 years, the plays that stand out most in my memory, the ones I talk about if people ask.
Here’s our Top 10 list for 2019 with three musicals – Come From Away, Curve’s West Side Story and the touring production of Amelie dominating the top spots.
It’s that time of year again… here’s View From the Circle’s Top Ten shows of 2019.
The production team that ensured the show could go on after part of a West End theatre ceiling collapsed and the revival of much-loved pop magazine Smash Hits are among the nominees for The Stage Awards 2020.
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
To the credit of Kwame Kwei-Armah and Idris Elba – and maybe Tori Allen-Martin and Sarah Henley – you can feel the urge to find a healing of all sides in a conflict between black and white South Africans that persists to this day.
If a student disco is your personal nightmare, look away now. Tree starts and ends with a throbbing onstage party to wish the audience is persuasively invited. The last time this many Waitrose customers grooved awkwardly to African beats was on Paul Simon’s Graceland tour.
There is much to applaud in Tree but it feels like a play that is more about the spectacle and experience than a substantial exploration of meaty issues which is fine to a point.
The highly acclaimed, sold-out Young Vic production of Arthur Miller’s Death of a Salesman will transfer to the Piccadilly Theatre from 24 October 2019 to 4 January 2020, with a press night on 4 November 2019.
Directors Marianne Elliott and Miranda Cromwell have brought their unique vision to one of the greatest plays of the 20th century by Arthur Miller, seen through the eyes of an African American family. So what did the Mates think of this Young Vic production of the American drama classic?
Highlights of Young Vic artistic director Kwame Kwei-Armah’s programme for 2020 include Cush Jumbo making her Young Vic debut as Hamlet and Academy Award-nominee Ruth Negga as Portia in Marina Carr’s haunting play Portia Coughlan.
As part of a new series, our editor Lisa Martland picks out seven of her Top Picks from the last week of theatre (29 April-6 May 2019). Amidst her choices are two more West End productions of classic American drama: Arthur Miller’s Death of a Salesman at the Young Vic (Emily Garside) and Tennessee Williams’ Orpheus Descending at the Menier Chocolate Factory (Libby Purves).
This production of Death of a Salesman will become the stuff of legend, hopefully setting a precedent for future ‘classic’ revivals.
Manchester International Festival (MIF), the Young Vic and Green Door Pictures have announced the full cast for Idris Elba and Kwame Kwei-Armah’s collaboration, Tree, which will receive its world premiere at Manchester International Festival, before transferring to London’s Young Vic.
It’s Marianne Elliott’s impressionistic approach that yields considerable insight into the themes of Death of a Salesman, the characters’ attachment to material possessions as indicators of success, and most especially to the physical home that contains their family history, which they have spent decades slowly paying-off.
The joy of Stephen Adly Guirgis’ Jesus Hopped the ‘A’ Train is in meeting his characters: watching them perform to each other; hearing their patois and verbal brio; exude a charisma which they know gives them power.
For 45 minutes the audience may be gripped, stimulated and entertained in The Jumper Factory but this remains the everyday experience of all the men who contributed to the show, and it slightly changes our mindset to have this made clear at the start.