Theatre
Ismene Brown
This powerful play’s immediate backstory, with Moscow sentencing its author to eight years’ jail and its director going into forced exile, is not its immediate theme – and all the better for it, for how can anyone yet make any authentic dramatic reflection on Putin’s war on Ukraine?But there’s no doubt of the current war’s absolute relevance to Dmitri Glukhovsky and Maxim Didenko’s address of a hideous episode of World War Two, the murder of some 200,000 Polish Jews from Lodz by the SS, with help from Jews themselves.Normally Glukhovsky’s reputation rests on his bestselling Metro2033 Read more ...
David Nice
Many of us have perhaps grown too accustomed to the friendly face of My Fair Lady. George Bernard Shaw’s very original play is sharper, less sentimental yet ultimately more profoundly human. Its wit and wisdom zip along in Richard Jones’s symmetrical, perfectly calibrated production, with three astonishing performances and two climactic scenes, one in each half, which respectively make you (me) cry with laughter and bring a tear to the eye at choice moments.This isn’t the Cinderella story of the musical. There’s never any doubt that the huge emotional intelligence, spirit and quick learning Read more ...
Demetrios Matheou
With more than 20 plays under her belt, San-Francisco based Lauren Gunderson is one of the most produced playwrights in the US. But she’s chosen London to premier her very topical new thriller. It’s a sign of a good writer that they can touch the zeitgeist just as the geist gets seriously gusty. anthropology was conceived before Chat GBT escalated the fears about the threat of artificial intelligence usurping mankind’s own sentient endeavour – and helped to herald the current actor and writer strikes in the US. While films have tackled the subject of AI getting ahead of Read more ...
Paul Vale
It's rare that a new musical or play opens in the West End with as much positive word-of-mouth as The Little Big Things. Social media has been ablaze over the last few weeks, with critics and bloggers sneaking into previews and authoritative big names hailing a new hit long before the official press night.Fortunately much of the hype is well-founded, as this uproariously crowd-pleasing musical showcases not only a burgeoning new writing talent, but also flexes the muscles of @sohoplace as a truly accessible theatre space.In the summer of 2009, a 17-year-old Henry Fraser joined his rugger- Read more ...
Helen Hawkins
Few comedians are such good company that you never want them to stop. The young Billy Connolly was one such; affable American Mike Birbiglia is another. He’s often billed as a master storyteller, which is very true, but doesn’t necessarily suggest his whole range as a performer. In his latest set, The Old Man and the Pool, seen at New York's Lincoln Center last season, he shows he has everything in the toolkit: a natural ease with the audience, impeccable comic timing, an ability to turn physical clown, clever scriptwriting structured around multiple little callbacks, a world view that Read more ...
Jane Edwardes
From the moment that the blood-stained Nathuram Godse rises out of the floor of the National Theatre's Olivier stage and demands ‘What are you staring at? Have you never seen a murderer up close before?’, we are locked into a queasy, teasing relationship with the man who killed Mohandas Gandhi, the latter renowned throughout the world for his passive but effective resistance to British colonial rule in India. Returning for a second run, Indhu Rubasingham’s production has several new cast members, including Hiran Abeysekera as Godse. Playwright Anupama Chandrasekhar was the National’s first Read more ...
aleks.sierz
Playwright Polly Stenham MBE had a meteoric rise with this play, her award-winning 2007 debut which she wrote aged 19 and whose original Royal Court cast featured Lyndsay Duncan and Matt Smith, and earned a much-lauded West End transfer. I remember it as a punky and powerful in-yer-face experience so I’m not surprised to see it being revived, this time starring Niamh Cusack, at Tom Littler’s ever enterprising Orange Tree Theatre in Richmond. But, since meteors – however bright – tend to pass quickly, can this drama still light up the contemporary sky?The answer is yes and no. It’s a Read more ...
Gary Naylor
Towards the end of the 18th century, Lady Emma Hamilton (like so much in this woman's life, hers was a title achieved as much as bestowed) was the “It Girl” of European society.They’ve always been around – women who have the combination of looks, intelligence and transgressive confidence fused by a rare alchemy into a concoction that a certain kind of powerful man cannot resist (and plenty of not so powerful men, too). Then, as now, such women were dangerous and the patriarchy exacted a price for the challenge not so much to its norms but to its hypocrisy. Such people burned bright, but Read more ...
Heather Neill
There is a grainy piece of black and white film on YouTube featuring Noel Coward as the celebrity guest on a 1964 edition of the popular television panel show, What's My Line. He signs in with panache, paying careful attention to the diaeresis over the e in Noel and enveloping his first name with a stylish C from the second. Artifice, self-invention, elegance – these are qualities inseparable from the Coward reputation. If they applied to his own persona, so they frequently do to the characters in his plays. An underlying sadness in the man himself is now acknowledged and, similarly, the Read more ...
Helen Hawkins
Yasmin Reza’s God of Carnage (2008), like her British megahit, 1994’s Art, is not strictly a comedy. The French dramatist likes to create gladiatorial spaces disguised as chic living-rooms, where the professional classes slug it out, chewing their way through all manner of pieties and prejudices to reach some kind of climactic end point.In this country, we tend to think that’s a pretty funny thing to do. So Art ran for six years in the West End, with multiple casts playing for laughs the perceived pseudery of the three men onstage who were hotly debating the true value of art. How very Read more ...
Rachel Halliburton
To proclaim that you’re playing gender games with Shakespeare’s As You Like It seems a little like announcing that you have a bicycle with two wheels, or indeed that you’re doing something interesting with rhythms in Stravinsky’s Rite of Spring.Let’s face it, this is a plot in which the female love interest doesn’t just disguise herself as a man but names herself after Ganymede, famed in mythology as Zeus’s gay lover. The idea that this might be heteronormative in any way sounds like a spurious idea on some emotionally constipated academic’s bookshelf. There’s not just sauce for the goose Read more ...
Helen Hawkins
The journey from off-Broadway to central London has taken 15 years, but the multi-award-winning musical Next to Normal has finally made it. That time lag may lead to suspicions that its subject matter has become a tad outmoded, but this staging, directed by outgoing Donmar director Michael Longhurst, is fresh and affecting.The scene looks set for a conventional tale of middle-age crisis, of a “normal” middle-class kind. Diana and Dan live in a glass box they designed themselves – they met as architecture students – complete with Bulthaup-style minimal kitchen and stainless steel fridge. Read more ...