Theatre
mark.kidel
Turning John Cleland’s 18th-century erotic classic Memoirs of a Woman of Pleasure into a convincing stage play is a tall order. The book, a product of male fantasy, is a catalogue of sexual feats of every order, rich in euphemism and with a dash of poetry. April de Angelis’s adaptation – originally written for Red Shift in the early 1990s – is more of an appropriation, with a post-feminist reversal of roles, in which the stories we are told on stage are the product of women’s rather than men’s imaginations.A fictional Fanny Hill, middle-aged madam and whore, is commissioned by a Read more ...
Gary Raymond
The casual theatre-goer may be forgiven for thinking that, in Wales at least, serious theatre is going through a phase of chronic disregard for the audience. Yvonne Murphy’s all-female Richard III, performed in the rafters of the monolithic Wales Millennium Centre, is as serious as theatre gets, but finally crippled by its seeming disregard for the audience experience.This bleak-as-hell interpretation of one of Shakespeare’s most masculine plays was delivered in a detached, flat monochrome, a vision of a rotting industrial world, specked with hints of Fascistic uniforms, hard surfaces and a Read more ...
Jenny Gilbert
There is indeed something of Frankenstein’s monster about the handsome young gardener, with his flat-top haircut and gym-bulked torso, who has come to mow James Whale’s lawn. The retired Hollywood director, now plagued by a series of strokes, is pathologically alert to remembrances of his earlier life, and it’s Whale’s state of mind, rather than the game-changing films he made in 1930s Hollywood (Frankenstein, Bride of Frankenstein, The Man in the Iron Mask), that forms the locus of Russell Labey’s new play.The material comes from a speculative novel by Christopher Bram, which in turn Read more ...
aleks.sierz
Is there such a thing as New Writing Pure? By this I mean plays that not only have a really contemporary sense of character, plot and dialogue, but are also written in a distinctly individual language whose texture is singular and personal. Call it fine writing, call it literary, it doesn’t matter. The point is that this kind of theatre is about plays that are not only beautiful to look at, but beautiful to hear as well. After all, words are an essential part of the overall theatre experience.Ever since her early plays, such as By Many Wounds (1999) and Further Than the Furthest Thing (2000 Read more ...
Marianka Swain
Casting existing partners is no guarantee of artistic success – for every Burton/Taylor, there is a Bennifer. Hannah Price has taken a risk, too, by pairing the revered Dame Harriet Walter with her comparatively unfamiliar American husband, Guy Paul, in Clara Brennan’s exposing two-hander. But it’s a risk worth taking, as the couple’s deep-rooted rapport lends a frisson to this stroll down memory lane.It’s 30 years since their first meeting, and troubled transatlantic lovers Louis (Paul) and Boa (Walter) are interrogating their shared history to uncover truths. The couple (pictured below) Read more ...
Marianka Swain
The Orange Tree’s renaissance continues with this searing piece from playwright of the moment Alice Birch, who will shortly follow up last year’s subversive Revolt. She Said. Revolt Again with an interrogation of the porn industry for Rufus Norris’s debut National season. Her fearlessness is also in evidence in deceptive early work Little Light, an initially typical domestic drama that furiously erupts in a bruising, bravura 90 minutes.The beachside converted barn of Teddy (Paul Rattray) and Alison (Lorna Brown) is the setting for an annual Sunday lunch ruled by ritual, but this year is Read more ...
aleks.sierz
Kay Adshead’s new play about the Arab Spring has a beguiling premise: to tell the human stories behind the headlines. We all remember the news footage of the Arab Spring in 2011, from Tunisia to Egypt, with their huge crowds and mass protests. Contrary to the West’s clichéd view of passive Arab women, many of the protestors who took to the streets were female. They may have been veiled, but that didn’t prevent them from being radical activists.In this trilogy of shorts, Adshead celebrates these women in a variety of different texts, many of which are refreshingly unnaturalistic. The first Read more ...
Marianka Swain
Even the most begrudging acquaintance with thematic foghorn Downton Abbey will have affirmed that the Edwardian era heralded momentous social change. Provocatively embedding this revolution in his work was largely forgotten “New Drama” exponent St John Hankin, whose suicide Shaw described as “a public calamity”; Granville-Barker dedicated his first volume of plays to him.The Orange Tree rescued Hankin from obscurity with multiple revivals, and now Jermyn Street attempts to demonstrate why this unfamiliar name was once held in such reverence. Debuting director Joshua Stamp-Simon has selected a Read more ...
David Nice
"The fantastical should come so close to the real that you must almost believe it," declared Dostoyevsky on Pushkin’s ghostly short story The Queen of Spades. Emmanuel Demarcy-Mota and his superb French ensemble have brought off the feat twice now at the Barbican: two years ago with the pachydermal transformations of Ionesco’s masterpiece Rhinocéros, and now through the intrusion of Pirandello’s nightmare family into a rehearsal of one of his plays.In a way, it’s a tougher task than the scary metaphor of man-into-beast. Pirandello’s ghostly six (pictured below) become beasts, or at least Read more ...
Marianka Swain
Is there any bond more powerful than shared history? If life is the sum total of our experiences, then those who experienced it with us will always hold a piece of us – and none more intimate than those formative years when we are figuring out who we want to become. Friendships forged on the cusp of adulthood rival great affairs in their intensity, but can be just as difficult to maintain.Amelia Bullmore’s Hampstead hit, earning a well-deserved West End transfer, is both loving and uncompromising in its incisive study of long-term friendships. Her schematically disparate trio meet at Read more ...
Matt Wolf
Here's the genuine hard problem facing commentators confronted with Tom Stoppard's new play of the same name: how do you honour the legacy of this extraordinary writer's first play in nine years that also marks its director Nicholas Hytner's National Theatre swansong and is – truth be told – a disappointment on multiple fronts? Speaking as one who can recall as if it were yesterday the revitalising jolt to both head and heart that one felt leaving the opening night of Arcadia nearly 22 years ago, The Hard Problem doesn't sufficiently engage either, notwithstanding occasional Read more ...
Demetrios Matheou
Now that the national self-delusion of the classless society has been laid to rest by the double whammy of economic crisis and the Cameron-Osborne-Johnson era of Bullingdon Club governance, it would seem an ideal moment to dust off Peter Barnes’s 1968 satire of upper-class madmen and monsters.Unfortunately, The Ruling Class needs more than a dusting-off; 45 years since its last West End appearance, it needs renovation. And it doesn’t get it from Jamie Lloyd’s latest production at the Trafalgar Studios. Despite a hugely charismatic, bravura performance by James McAvoy, and a great deal of Read more ...