Theatre
Laura de Lisle
“We all make history, one way or another.” But some of us make more history than others, and a group of 27 English schoolboys who got lost in Southern Germany in 1936 haven’t made much, unfortunately. Scottish playwright Pamela Carter has brushed the cobwebs from this strange corner of Anglo-German relations and spun an irreverent new play about what it means to be English. Our narrators are three pupils of the Strand School in South London: rambunctious Eaton (Vinnie Heaven), clean-cut Harrison (Hubert Burton), and earnest Lyons (Matthew Tennyson), the youngest. They’re on a walking Read more ...
aleks.sierz
The traditional, and much derided, well-made play is meant to have a beginning, middle and end. Although playwright David Eldridge often writes in opposition to these outdate forms, his trilogy about relationships, which started in 2017 with the hit show Beginning, now reaches its second part with Middle, which opened tonight at the National Theatre. No prizes for guessing what the final part will be called. Like its predecessor, this one is directed by Polly Findlay, and this time stars Claire Rushbrook and Daniel Ryan, but how does it compare to Beginning?At first we are in familiar Read more ...
Rachel Halliburton
Lucy Bailey’s joyous, visually ravishing Much Ado About Nothing opens on a sombre note. On stage there is laughter and merriment as people prepare for a party in the sprawling grounds of an Italian estate, but then a lone soldier enters the auditorium, his head wrapped in a bandage, and the tension becomes palpable.He is carrying a letter, and it suddenly becomes clear that the people watching his approach are all worried that it will bring news of the death of a loved one. Singing mournfully he hands the missive over; Leonata peruses it anxiously before her face lightens as she announces Read more ...
Mert Dilek
At long last, the giant has come back. Over a decade after its critical apotheosis on both sides of the Atlantic, Jez Butterworth’s Jerusalem returns to London in an astonishing revival starring Mark Rylance as the high priest of its proceedings. With the renewed intensity of its vision of an England in crisis, Butterworth’s infinitely rich play is proof that legends age well. First staged at the Royal Court Theatre in 2009, Ian Rickson’s superbly calibrated production once again lures us into a world marked by its anarchic flair and supernatural rhythm. At its centre is Johnny “Rooster Read more ...
Mert Dilek
National statistics tell us that, in the year ending September 2021, 41% of rape victims in England and Wales eventually withdrew their support for prosecution. That justice is not always blind may have something to do with this.Indeed, as the Australian writer Suzie Miller’s searing play Prima Facie demonstrates, its eyes can even look the other way when it comes to sexual assault. First performed in 2019, Miller’s legal monodrama lands in the West End with a transfixing production that also marks a triumphant stage debut for Jodie Comer.Prima Facie takes the form of a monologue Read more ...
Rachel Halliburton
Punchdrunk’s latest epic undertaking may be inspired by the legend of Troy, but this is nothing less than a dark journey into a mythological underworld. The company has brought its thrilling discombobulating vision to a venue that sprawls across 100,000 sq ft of two former ammunition factories in Woolwich; the result, appropriately, is theatrical dynamite.It has been eight years since the company has staged a major show in London, and for those who have followed it since its inception in 2000 there are familiar elements. Each audience member is given both complicity and anonymity through Read more ...
Matt Wolf
Inspiration jostles irritation in Marys Seacole, Jackie Sibblies Drury's Off Broadway hit from 2019 that has arrived at the Donmar as part of a banner season of late for Black American writing in the capital (cf. "Daddy": A Melodrama at the Almeida and Is God Is last year at the Royal Court).Riffing on the life and legacy of the Anglo-Jamaican nurse of the title who knew Florence Nightingale and lent invaluable assistance during the Crimean War, Drury's one-act play asks probing questions about the very workings of biography and the nature of bequest. And Nadia Latif's deeply felt production Read more ...
aleks.sierz
Let’s talk repertoire. Over the past decade the range of British plays, especially those from the 17th, 18th and 19th centuries, has shrunk in state-subsidized theatres. You can no longer easily see work by Shakespeare’s contemporaries, Restoration rakes or Georgian comics. George Bernard Shaw is in hiding. English 19th-century problem plays are invisible.The abandonment of older genres, of difficult plays, is just one symptom of subsidized theatre’s craven surrender to populism. Even 20th-century drama is under threat. So can the National Theatre buck this trend with this rediscovery of The Read more ...
Naomi Wallace
The Breach is a coming of age story and an age-in-the-making story. The play takes place in the U.S. in the 1970s and 1990s, switching back and forth between teenagers in Louisville and their older selves 15 years later. The promise of the 1970s in the US (and UK) when inequality was actively being reduced, and the undoing of that potential, are played out amongst this group of young friends. What I wanted to examine in the play is how societal pressures divide us from one another and how, when a betrayal strikes - that's to say, betrayal of one another and of youthful Read more ...
Tom Birchenough
The title of James Fritz’s play is allusive, oblique even. I assume it refers to how, in the aftermath of a catastrophe such as an erupting volcano, it’s the lava that spreads outwards, changing the form of the surrounding landscape. It’s not the epicentre of the disaster, but its adjoining regions, where the impact of what has happened can begin to be assessed.Indeed “Time since impact” is almost the first phrase projected onto the back wall of Amy Jane Cook’s set, where new texts appear beneath the five chapter-like headings that divide the action, following the stages of grief – denial, Read more ...
Gary Naylor
One of the more irritating memes (it’s a competitive field, I know) is the “Name a more iconic couple” appearing over a photo of Posh and Becks, or Harry and Megan, or Leo and whoever. I’ve always been tempted to close the discussion down with a photo of Bonnie and Clyde, because couples do not come more iconic than they are. So it’s a surprise to discover that Nick Winston’s production is the first ever musical dedicated to them in the West End, reviving a show that was in and out of Broadway ten years ago quicker than the Barrow gang were in and out of a Wells Fargo bank. Since then, Read more ...
Laura de Lisle
The title is so long that the Royal Court’s neon red lettering only renders the first three words, followed by a telling ellipsis. But lyrical new play For Black Boys Who Have Considered Suicide When the Hue Gets Too Heavy lives up to its weighty name.Writer-director Ryan Calais Cameron shows us Black masculinity in all its nuances and contradictions, presented by six actors so naturally charming it’s impossible not to fall in love with them. This is an odyssey through Black masculinity, a complex navigation of a sea of troubles and expectations and joy and love. Line by line, each man’s soul Read more ...