Theatre
David Nice
Three tall orders must be met in any successful transfer of an Ingmar Bergman text from screen to stage. First, take a company of actors as good as the various ones that the master himself assembled over the years, both in his films and in the theatre; Ivo van Hove’s Toneelgroep is one of the few in the world today up to the mark, working just as intensively. Second, make sure the look of it isn’t a pale copy of the films – this isn’t. Third, while staying true to the essence, find something new. By making After the Rehearsal and Persona two very different sides of the same coin, an Read more ...
David Eldridge
My friend, the playwright Robert Holman, says that the writing of a play is always “the product of a moment”. Of course, he’s right, but sometimes you have to pick your moment.In autumn 2015 a TV writing gig hadn’t worked out in the way that I’d hoped it might and I had a gap. Sometimes as a writer it’s great to find you have little to do but walk a lot, read a lot and think a lot, but I was in no mood to reflect. I had itchy fingers and needed to write. I’d had the idea of making a very detailed naturalistic play, beginning with a man and a woman looking at each other, for years; literally Read more ...
theartsdesk
In July we launched a competition in association with The Hospital Club to unearth talented young critics. We were clear about what we were looking for: “We want to read reviews that make us think – provocative, entertaining writing that gets under the skin of the art it addresses, that dares to ask uncomfortable questions and offer new answers. We’re looking for a review we wish we’d written ourselves. Surprise us, shock us, enrage us.”Entrants, who had to be between 18 and 30, had a month to submit a review of 500 words. It was very pleasing to see young critics writing about all the art Read more ...
Jenny Gilbert
Sometimes you go to the theatre and in the first 10 minutes are convinced that the production is going to smash it, only to find by half time that it’s not. Initial delight gives way to mild irritation, and as a member of the ticket-buying public you draw a line under it and hope for better luck next time. A critic, however, must identify what didn’t work and why. Sally Cookson’s stage adaptation of Charlotte Brontë’s best-loved novel seems to have everything going for it: dynamism, narrative clarity and a willingness to strip the story to the beating heart beneath the corset-stays. It takes Read more ...
David Nice
Now look here, Giles Coren: immersion in a great play well acted can send you out of the theatre feeling very different from when you entered it – and I don’t mean stressed-out. In this case, light as air and sad as hell, simultaneously. You may still find it funny or contrived. Yet these things are true: when in 1976 Arthur Kopit, visiting his stroke-incapacitated father in hospital, met three strong women there, he transformed their experiences into a superbly structured, strikingly phrased poetic drama. And now, over 40 years later, Juliet Stevenson and the director who helped her to make Read more ...
aleks.sierz
Location, location, location. Jim thinks he lives in the “shittiest” small town in Scotland. It’s Mallaig, on the west coast, and he’s a deeply troubled 32-year-old, working for a fish merchant and as a nature guide, but having no friends. His flat is tiny and messy, and it smells bad. Still, he enjoys his own company, and has a great collection of crustaceans in formaldehyde. It’s his hobby. As actor Sophie Wu shows in her 80-minute debut play he has good reason to feel depressed. It’s because of what happened to him 15 years ago.Yet Jim is not totally solitary. He has a girlfriend, 19-year- Read more ...
Tom Birchenough
Truth is pursued in different ways in Alice Childress’s groundbreaking 1955 Trouble in Mind, and its play-within-a-play story of rehearsals for a Broadway show fully mines the range of theatrical opportunities, for much comic as well as rather more serious purpose. On the one hand, it’s the decade when method acting was becoming all the rage, which has the (white) director Al (Jonathan Singer) bamboozling – and sometimes plain manipulating – his (largely black) cast into bringing extra power to their performances.But the other level at which Childress explores the concept of truth is more Read more ...
Dylan Moore
Port Talbot (population 38,000) is a town on the south Wales coast famous for two things: steel and actors. The birthplace of Richard Burton, Anthony Hopkins and Michael Sheen made a rare foray into the national consciousness at the beginning of last year when Tata Steel threatened to close the plant that employs 10% of the town. It had been making a loss of £1m a day, largely due to flooding of the global market by China. National Theatre Wales have returned to the scene of the greatest triumph in the company’s short history, the perhaps unsurpassable Passion (starring Sheen), for Read more ...
aleks.sierz
Documentary theatre has a poor reputation. It’s boring in form, boring to look at (all those middle-aged men in suits), and usually only tells you what you already know. It’s journalism without the immediacy of the news. But there are other ways of writing contemporary history. In telling the story of the 1993 Oslo Accords – the first ever agreement between the State of Israel and the Palestine Liberation Organisation – American playwright JT Rogers gets around the disadvantages of documentary theatre by writing what he calls “a scrupulously researched, meticulously written fiction”. And he Read more ...
Will Rathbone
Thebes Land returns to the Arcola Theatre as part of the wider CASA Latin American Theatre Festival, following a short 2016 run that resulted in an Off West End Award, or Offie, for Best Production. Director Daniel Goldman's pinpoint translation of Franco-Uruguayan playwright Sergio Blanco's original text proves a tight, exhilarating two-hander on themes of violence and the ethical boundaries of theatre itself.Writer T (Trevor White) is devising a play based on a series of interviews he is conducting with Martin (Alex Austin), a prisoner serving a life sentence for murdering his father, and Read more ...
Adam Sweeting
Jack Cardiff was one of the all-time greats of cinematography, the man who shot such Powell and Pressburger classics as The Red Shoes and A Matter of Life and Death, worked on John Huston’s The African Queen with Humphrey Bogart and Katharine Hepburn, and lensed Marilyn Monroe in The Prince and the Showgirl. He was renowned as “the man who makes women look beautiful”, but despite this he didn’t shrink from shooting Sylvester Stallone in Rambo: First Blood (Part II).Terry Johnson’s new play for Hampstead Theatre depicts Cardiff in his twilight years, reliving chunks of his past while his Read more ...
Tom Birchenough
History comes to the stage of the Globe only rarely – at least if you compare the frequency of productions there from that segment of the Shakespearean canon against the tragedies and comedies – which is certainly one reason to welcome Boudica. Much more importantly, however, Tristan Bernays's new play offers a crackingly powerful central female role, one which puts the first-century British queen right at the centre of the narrative. It’s one that has the kind of sheer dramatic grandeur that admits contradiction of character, and Gina McKee has made it her own.Given that Bernays has written Read more ...