Theatre
Matt Wolf
O Glengarry, where is thy sting? That's likely to be one response to the bewildering Old Vic revival of David Mamet's defining (and remarkable) Glengarry Glen Ross, which I saw in its 1983 National Theatre world premiere production when I first moved to London and have loved ever since. I missed its Broadway incarnation last year, a star vehicle for a then recently-Oscar'ed Kieran Culkin and directed by Patrick Marber, the Tony-winning Englishman whose own plays (Closer, especially) have more than a whiff of Mametian ruthlessness about them. So there was every reason to see what might Read more ...
David Nice
Bloomsday doesn't just celebrate James Joyce's odyssey through so many parts of Dublin that still teem with character; it's also putatively about the same 16 June 1904 when the budding writer first walked out with Nora Barnacle and she put her hand inside his trousers to "make me a man". Do all those folk who swan around in straw hats and frilly dresses know they're marking National Hand Job day too? Have any of them read his deliciously filthy early letters to Nora?No matter; let them have their fun, but let it also be of quality homage to the towering and frequently very funny masterpiece Read more ...
Aleks Sierz
The best playwrights create word magic – and when that happens, you can’t miss it. Other writers produce journalism, or teaching materials. Sadly, for me, Christine Bacon is one of the latter, and her latest 90-minute play, A Fine Idea at the Arcola studio, is a didactic account of 80 years of international aid. Inspired by Jason Hickel’s 2017 book about global inequality, The Divide, her play is a passionately felt critique of international development which questions whether us liberals really want to change the world – or are we just more comfortable with the idea, a fine one, of helping Read more ...
Helen Hawkins
Anybody who relished the blistering family rows of Bad Jews or Admissions might be surprised by what their author, Joshua Harmon, wrote next: a three-hander still based on a warring family, but this time one closely resembling his own.Hampstead Theatre has sensibly staged We Had a World in its Downstairs space, where the intimacy of its content plays directly to the onlooker. The audience here, more overtly than is usual in the theatre, plays judge and jury for what the younger version of Harmon, Joshua (Ryan Kopel), stages as a recreation of his past, aided by his “cast”: his brisk lawyer Read more ...
Demetrios Matheou
It’s 1959. Trinidad is fighting for independence from British colonial rule, while the US is beginning to stake its own control over the island, whether through labour exploitation or crime. Some of the locals are finding themselves torn – between a desire to escape, or to have a piece of the action. And it’s driving them towards disaster. Trinidadian British actress Martina Laird has turned to playwriting with a confident, evocative, and boldly authentic drama, set in the place of her birth, Port of Spain, and enriched by its patois. It follows its premier at the RSC’s The Other Place, Read more ...
Rachel Halliburton
Kurt Vonnegut’s hallucinatory countercultural classic, Slaughterhouse Five, famously took his experience of being a prisoner of war in Dresden and turned it into a story about a man abducted by aliens whose life jolts backwards and forwards in time. It’s a testament to the So It Goes theatre company that this agile production – performed by four actors – simultaneously captures Vonnegut’s eye-spinningly deadpan humour and the horror that led to this becoming one of the Vietnam era’s great anti-war narratives. Cream’s late Sixties song Sunshine of Your Life is playing as we wait for Read more ...
Aleks Sierz
Okay, theatre is all about acting, but then so is most porn. Except for amateur stuff. Sort of. And then there is AI, deep fakes and digital manipulation, while not forgetting real-world sexual violence and missing children. But even these things can be manipulated by those in power. And by the media. In her debut play, Are You Watching?, staged in the Royal Court’s studio space, Georgie Dettmer explores the relationships between the real and the fake, the watchers and the watched. And she does this by breaking down a dozen storylines into a series of fragments, intermittent short scenes, Read more ...
Rachel Halliburton
War Horse was without a doubt one of the boldest experiments in the National Theatre’s history. As Tom Morris, co-director with Marianne Elliott of the original production says in the programme, “Essentially putting a non-speaking central character on the Olivier stage was going against everything that everyone understood about that space. The design is for epic theatre in which text makes the space come alive. In this show, it’s movement, it’s puppetry.”Almost 19 years later, after more than 7,500 performances around the world attended by around nine million people, it’s all too easy to Read more ...
Gary Naylor
About two hours into this big, brash Beetlejuice, the door to Hell opens up, and I felt a sudden desire to rush the stage, dash through and take my chances. Well, perhaps not on press night, when it's poor form to leave before the end.Reflecting further (and this is one of those shows in which something is always happening, but everything is said at least twice, so you can take a time out) I realised that I was breaking one of my Golden Rules. This is a musical adaptation of an 80s blockbuster movie and has a wild-eyed, leering man with green hair as its marketing image, so what did I expect Read more ...
Helen Hawkins
With impeccable timing, the Orange Tree in Richmond has scheduled a one-act play that’s exactly what a beleaguered public needs: 75 minutes of mind-bendingly ludicrous physical comedy in the form of Peter Shaffer’s 1965 hit, Black Comedy. It's still a lethal weapon.Farce was a theatrical staple at that time, regularly broadcast on primetime television from the Whitehall Theatre. A pants-down Brian Rix in flamboyant underwear invaded the nation’s living rooms long before serious dramas with suggestive sex scenes were allowed in. So Shaffer was working fertile soil. (Spoiler alert if you have Read more ...
Rachel Halliburton
The psychological masterstroke of this quietly devastating work is to portray it from the point of view of an elderly woman who is convinced that she should not be in an old people’s home. Like the vast majority of us, Joan – played with spiky elegance by Linda Bassett – cannot see why she should relinquish her independence to be surrounded by people who seem, in different ways, to be losing their minds. On Rosana Vize’s rigorously naturalistic set – with its formulaic framed paintings and armchairs set in a forlorn semi-circle – we watch Joan’s initial encounters with the home’s Read more ...
Gary Naylor
In a small Appalachian village, where people say “Y’all” and prospectors are still searching for silver in the mountains, Barbara Allen wants more than the humdrum life of a Trad wife (as I suppose you would call it these days). Already a bit of a rebel, she has a suitor, the dim, fighty Marvin, but there’s something just there, she knows, if only she could see it.She’s right, of course, else we wouldn’t have a show, and that something is Witch Boy John, part of a coven of sex-mad spirits whose hedonistic lifestyle has become dulled by its accompanying alienation. He wants to feel joy and Read more ...