Theatre
aleks.sierz
Masculinity, whether toxic or in crisis (but never ever problem-free), is a hardy perennial subject for British new writing, and this new piece from playwright Simon Stephens, Frantic Assembly director Scott Graham and Underworld musician Karl Hyde is a verbatim drama made up of interviews with men, which the trio conducted in their home towns of Stockport, Corby and Kidderminster. The overall theme is fatherhood, men’s relationships with their Dads. Given that this is such well-trodden ground, does Fatherland, which was first seen as part of the Manchester International Festival in 2017, Read more ...
Matt Wolf
What sort of physical upgrade can a play withstand? That question will have occurred to devotees of Brian Friel's Translations, a play that has thrived in smaller venues (London's Hampstead and Donmar, over time) and had trouble in larger spaces: a 1995 Broadway revival, starring Brian Dennehy, did a quick fade. Particular credit, then, to Ian Rickson and his remarkably empathic team for steering Friel's complex weave of characters on to the National's largest, most exposing stage – the Olivier – and ensuring that it lands. After all, writing this gorgeous ought to be seen by as Read more ...
Jenny Gilbert
The idea of producing a classic play in a mix of two languages is pretty odd. What kind of audience is a bilingual version of Molière’s best-known comedy aiming at, you wonder. Homesick émigrés? British francophiles with rusty A-level French? Neither constituency is likely to be satisfied by this curious dish that is neither fish nor fowl.Paul Anderson, best known as Arthur Shelby in Peaky Blinders but now affecting a dodgy southern-states drawl, is Tartuffe, redrawn in Christopher Hampton’s adaptation as a new-age guru. Proclaiming the spiritual benefits of celibacy and poverty, he has Read more ...
David Benedict
Question: is Consent, transferred from the National to the West End, a sharp-tongued comedy or an acute reinvention of a revenge drama? There are more than enough smartly placed laughs throughout the tart, increasingly taut first act, to make you think you’re watching an amusingly balanced, if increasingly vicious, exposé of the divide between the private and professional lives of lawyers. But at the top of the second act, playwright Nina Raine triggers a perfectly timed dramatic explosion blowing the niceties of legal language out of the water. As everything turns frighteningly personal, the Read more ...
Katherine Waters
I’ve forgotten my wallet. This is both embarrassing (where did the fun lush part between callow youth and irrefutable senility disappear?) and upsetting because by the interval of the Finborough Theatre’s revival of French symbolist writer Paul Claudel’s immensely prolix, indulgently semi-autobiographical, astonishingly declamatory and undeniably self-flagellatory play Break of Noon, I'm in need of a drink as stiff as the acting.How many adjectives can fit into a sentence? How many words can be used when one will suffice? Why say “fearful” when being “scared” and harrowed to the “pith” of Read more ...
Heather Neill
This exuberant production both clarifies and further complicates the conundrum of Peter Pan. In any production true to Barrie there is an underpinning of sadness, an acknowledgement of the losses we must all suffer: children leave home and adult responsibility takes the place of childhood innocence. And yet, despite the tragedies which dogged both Barrie's own life and those of the family who inspired this work, it is also a celebration of the youth and joy which Peter himself claims to represent. In this version, first seen in 2015, Timothy Sheader and Liam Steel mark the centenary of the Read more ...
Matt Wolf
Add Catalan writer Jordi Galcerán to the shortlist of European playwrights who are finding an international perch, in this case with a tricksy four-character play that has had more than 200 productions in over 60 countries. The UK premiere of The Grönholm Method follows six years on from a Los Angeles staging that boasted the same director (Mike Nichols protégé BT McNicholl) and leading man (Jonathan Cake as the bilious Frank), while a 2007 Spanish movie, The Method, expanded the premise for the screen. Given all this activity and attention, it's moderately surprising Read more ...
Tom Birchenough
Calixto Bieito has a reputation as a radical theatre-maker, and by any standards The String Quartet’s Guide to Sex and Anxiety is an unusual, genre-breaking piece; Bieito has described it as “like a symphonic poem for a quartet of musicians, and a quartet of voices”. A mesmerising 90-minute melange on the subjects of its title – anxiety seems marginally the dominant emotion, somehow preceding sex – it’s a collaborative effort between the Heath Quartet (with whom Bieito worked on his ENO Fidelio five years ago) and four actors, Cathy Tyson, Mairead McKinley, Miltos Yerolemou and Nick Harris. Read more ...
Jasper Rees
Ian Rickson’s route into theatre was not conventional. Growing up in south London, he discovered plays largely through reading them as a student at Essex University. During those years he stood on a picketline in the miners’ strike, and proudly hurled the contents of an eggbox at Cecil Parkinson. He is a lifelong supporter of Charlton Athletic. When he was appointed to succeed Stephen Daldry at the Royal Court in 1998, having been associate director for three years, he was portrayed in the media as a nowhere man. He could have been forgiven for wondering whether his surname had been changed Read more ...
Tom Birchenough
There’s a distinct feeling of back to basics to this opening double bill at the Globe under the theatre’s new Artistic Director Michelle Terry. The elaborations (some would say gimmickry) of Emma Rice’s short tenure have been reined back, and a new concentration prevails. This first presentation – two plays written around 1599, the year in which Shakespeare's original Globe opened: As You Like It was staged that year, Hamlet a little later – is built on a new approach to ensemble that draws on a broader casting base than usual.That involved a gender-neutral approach (with a 50:50 gender ratio Read more ...
alexandra.coghlan
The show’s subtitle – “Songs banned by the Nazis” – is a catchy one, and somewhere under the confetti, the stilettos, the extravagant nudity, the sequins and even shinier repartee that are wrapped around Effigies of Wickedness like a mink coat on the shoulders of an SS officer’s mistress is the bruised and grubby story of one of history’s foulest episodes. As the evening progresses and the glossy fur slips lower and lower we see a reveal more shocking than any burlesque club or Weimar cabaret could offer.Effigies of Wickedness (a phrase borrowed from an official description of the Nazis’ Read more ...
David Nice
Towards the end of the Maly Drama Theatre of St Petersburg's Life and Fate, a long scene in director Lev Dodin's daring if necessarily selective adaptation of Vasily Grossman's epic novel brings many of the actors together after a sequence of painful monologues and one-to-ones. The social nuances and the glimmers of humour here in a mostly lightless play are pure Chekhov - a writer referenced several times by Grossman - and give us a preview of the warm, human laughter to come in the company's Uncle Vanya. Then the blackness envelops the drama again. It could hardly be otherwise in a tragedy Read more ...