Theatre
Demetrios Matheou
Brian Friel’s affinity with Russian writers, notably Chekhov and Turgenev, is central to his work, the playwright seeing similarities between their tragi-comic characters, hanging onto “old certainties” despite knowing in their hearts that their time is up, and people of his own generation in Ireland. The correspondences go beyond theme, of course; he’s not known as the Irish Chekhov for nothing.Yet this production of Friel’s 1987 play Fathers and Sons, adapted from Turgenev’s novel, doesn’t produce the frisson one might expect. It’s elegantly mounted and entertaining; but considering the Read more ...
aleks.sierz
Posh hotels are good settings for drama. They look cool, feel alien and can rapidly acquire a sense of claustrophobic intensity. Most importantly, in real life they feel like stage sets. Playwrights from Noël Coward (Private Lives) to Sarah Kane (Blasted) have set their work in luxury hotels, so Polly Stenham’s latest play, her first for the National Theatre (and performed in the small studio space), follows in some large footsteps. But she brings her very own in-yer-face style to the party.From the first, there’s a tense atmosphere. An upper-middle-class English family is staying at a luxury Read more ...
Matt Wolf
Kevin Spacey is seen before he is heard in Clarence Darrow, the solo play that is doing a brief if ferociously bracing run at the Old Vic, but once the actor stops fiddling with his onstage desk and starts to talk, well, watch out. A master ironist who can often stand at an intriguingly cool distance from the parts he plays, Spacey hasn't sounded this impassioned in years, and when the standing ovation arrives nearly two hours later, it is entirely deserved. The audience can feel this performer all but taken over by the assignment at hand, and I would be surprised if this engagement doesn't Read more ...
Jasper Rees
Jonathan Kent was an actor before he was a director. Indeed, he had not directed a single play when in his mid-40s he assumed control of the Almeida Theatre in 1990. By the time he and his co-artistic director Ian McDiarmid has left more than a decade later, they had enforced a vital shift in the ecology of London theatre. Kent lured big names to work for small paychecks: Diana Rigg and Ralph Fiennes were soon followed by the likes of Kevin Spacey, Juliette Binoche, Liam Neeson and Cate Blanchett. The theatre put down roots in the West End, invaded the old Gainsborough Studios and took up Read more ...
Caroline Crampton
Is there such a thing as a human right to forgiveness? Nicholas Wright's riveting play about the Truth and Reconciliation Commission (TRC) in post-apartheid South Africa circles around this question, never flinching from revealing the atrocities perpetuated by that vile regime, never quite fully exposing the characters' motivations. As spectators, it demands answers of us. What is the price of your forgiveness? Where is the line between humanity and evil?A production by the Fugard Theatre in Cape Town and directed by Jonathan Munby, this play was first seen at the Hampstead Theatre in May Read more ...
aleks.sierz
New writing for British stages has recently delivered several punchy plays that, having made their points, don’t hang around for long afterwards. With a running time of 70 minutes, Evening Standard prize-winner Rachel De-lahay's Circles is one of these. Set in the playwright’s birthplace, Birmingham, most of the story takes place on the upper deck of a bus — the number 11 circular service — that is one of the longest urban routes in Europe. The full round trip takes about two and a half hours, but De-lahay doesn’t keep us that long.It’s on top of the number 11 that posh young Demi, a mixed- Read more ...
Ismene Brown
When a big star meets a small play, they go one of two ways - they step up to it like a believer, or they clue in the audience that this is all a bit low, throwing everything they have in the toolkit at it, playing the actor who does what one can with what's available these days. Bakersfield Mist is the arena for a battle between the honest integrity of Kathleen Turner, the Hollywood film star, and what at the moment is the mighty over-acting of Ian McDiarmid, the renowned British stage and TV actor.To older generations Turner will always be the scorching, duplicitous redhead in Body Heat and Read more ...
Thomas H. Green
Sitting outside Mrs Fitzherbert’s, the pub named after George IV’s notorious mistress, nursing a pilsner top and a packet of peanuts on a sunny Saturday afternoon, the world is a benevolent place with the Brighton Festival (and Fringe) at the heart of the fun. My daughters, aged 11 and 16, and girlfriend, age unknown, are with me (fizzy lemon, Coca Cola and pilsner, no top, respectively), and in front of the retina-scorching white, grandiose columns of the Unitarian Church opposite a group of men perform acapella songs.We can’t stay long, as we have an appointment a few yards down New Road at Read more ...
Katie Colombus
At first sight this children's theatre production could seem like a drab story circle for bored bairns. But despite a rocky start, I Believe In Unicorns develops into something rather magical.After finding her feet, solo performer and fabulist Danyah Miller whisks our attention away from the typical library setting and throws it headlong into an adventure of swimming through oceans, flying kites and climbing mountains.But most importantly, by opening the books stacked in piles upon the stage, she unearths precious gems - golden eggs, delicate houses with lights burning within, other, Read more ...
Caroline Crampton
In French, when you want to end a digression and get a conversation back on point, you say "revenons à nos moutons". It's a commonly used idiom, meaning literally "let's get back to our sheep", the sheep representing the actual subject under discussion. It also offers a way of looking at David Mamet's one-act play Squirrels, too, for no matter how far away their flights of imagination take them, the characters will always find their way back to their original theme, with a little help from an improbable animal – a squirrel, not a sheep, but you get the idea.The action concerns Arthur, a Read more ...
Heather Neill
"Johnny get your gun" was a popular American recruiting call in the late Nineteenth and early Twentieth centuries and, according to the Irish-American song "When Johnny comes marching home, Hurrah, Hurrah", there should be celebration for him after battle. The Johnny of this story, Joe Bonham, an ordinary "Joe", got his gun alright, but there is no happy ending for him. Aged 20, one day in September 1918, he is saved from an exploding shell but reduced to a silent, faceless torso, lacking all four limbs and the ability to hear, see or speak. In the 120-seat Little studio, Johnny Got His Gun Read more ...
edward.seckerson
The heat is on in Saigon, and 25 years after its world premiere, Cameron Mackintosh has just turned up the thermostat. Boublil and Schönberg's celebrated take on Puccini's Madam Butterfly has always been my favourite of their collaborations (though I retain an enthusiasm for the pre-revised score of Martin Guerre) and there are moments in Miss Saigon where, truth be told, they trump the Italian master of romantic melodrama at his own game.Maybe it's the ongoing proximity of America's disastrous involvement in the Vietnam war and the subsequent resonances of Iraq, but the show seems to pack Read more ...