Theatre
aleks.sierz
Writing is a tedious activity, usually requiring a great deal of time spent alone at a desk with a pen, typewriter or laptop. It gives you bad breath and piles. Since a literal representation of this would be death on any stage, plays about writers need a dash of spice. In Pulitzer-Prize nominee Theresa Rebeck’s 2011 comedy, Seminar, this comes from seeing a quartet of budding writers being humiliated by their teacher. Luckily, there’s no writing on show, but there is rather a lot of silent reading - which is second to writing as a soporific.The seminar involves four young hopefuls paying $ Read more ...
Ismene Brown
Alan Bennett’s 80th birthday last May deserves celebrating not just as a point of respect for a formidable playwright but with awe at his continuing liveliness. More than 40 years after 40 Years On, he is still producing hits, and at Kingston’s Rose an opportune revival of two of his spy plays from the 1980s reminds us that the cuddly Yorkshire macaroon-lover with the swot’s glasses is quite the George Smiley: there are mercilessly observant eyes behind those lenses.It was under the last Soviet president Gorbachev, when the Cold War was a permanent feature of contemporary history still, that Read more ...
Marianka Swain
Britain has entered a “post-Christian” era, declared former Archbishop of Canterbury Rowan Williams earlier this year: we acknowledge its cultural presence, but Christianity is no longer an habitual practice for the majority of the population. If that’s accurate, viewers of the 2009 American work Next Fall will most likely sympathise with Charlie Condou’s sceptic Adam, who simply cannot comprehend his partner Luke’s (Martin Delaney) certain belief in Heaven, Hell and an inevitable Rapture, nor how such convictions are reconcilable with their life as a committed homosexual couple.This Read more ...
Heather Neill
Sixteen-year-old Bernadette is determined to write short stories. She's a promising writer, describing her own feelings, the strangers and friends who cross her path in telling detail. Occasionally, the similes are a little forced: an old man has a face like wet Kleenex; the disappearance of her boyfriend's mother "looms over everything like a dinner plate glued to the wall". She admits she gets into trouble for including too many similes, but her descriptions could never be accused of lacking colour. Most of all, like any teenager, she needs an audience.Bernadette's life is going Read more ...
Marianka Swain
In his otherwise unremarkable 1932 debut play Dangerous Corner, JB Priestley employs a promising framing device that hints at the kind of metafictional experimentation found in works like Stoppard’s The Real Thing or Pirandello’s Six Characters in Search of an Author. I should hasten to add that Priestley does not deliver on this glimmer of promise – in fact, the frame is merely used to emphasise a theme already overstated in his plodding drawing-room whodunnit – but it’s indicative of an early work in which the writer is still figuring out the bounds of his new medium.Curiously, Dangerous Read more ...
Naima Khan
This stage adaptation of Danny Robins' Radio 4 drama is a feel-good show packed with snappy one-liners from a gaggle of intelligently drawn characters. Its roots in radio are evident, to be sure: the action develops significantly at 30-minute intervals with as many jokes crammed in as possible. On the upside, the story of a failing record store and its feckless owner comes with a host of infectious tunes and a seductively atmospheric score. The writing even careers through some keen observations about the emotional consequences of social mobility, happily staying light-hearted all the while. Read more ...
Demetrios Matheou
Rona Munro’s trilogy of plays about Scotland’s Stuart kings premiered at the Edinburgh Festival when Scottish independence was, for many, still a cherished possibility; it transfers to London – within a clarion call of Westminster – just as the promise has been dashed. As timely as the National’s recent Great Britain, the trilogy is more than merely opportune, resonating with the anger and frustration of centuries.These boisterous, bracing, subtly thought-provoking and hugely entertaining plays are also a rarity in offering a new history cycle to accompany those of Shakespeare. While the Read more ...
Caroline Crampton
As we arrive at the last few months of 2014, the temptation to say “Enough! No more!” to representations of the First World War creeps in. The centenary of 1914 has been so comprehensively commemorated on our stages and screens that you could be forgiven for feeling as if you had little left to understand about what went on. But don’t put it all behind you quite yet – this rediscovery from the 1930s still has something to offer in an overcrowded space.John Van Druten’s Flowers of the Forest was first performed 80 years ago, at a time when the playwright was a prominent feature of the London Read more ...
aleks.sierz
In the context of recent events in Iraq and Syria, the spectre of the ill-fated Iraq War of 2003 looms large once more. What better time for a revival of master-playwright David Hare’s story about conflict and personal relationships? As parliament is recalled to debate bombing the Islamic State, The Vertical Hour — which premiered on Broadway in 2006 and was then staged at the Royal Court two years later — opens at the smart Park Theatre in London’s Finsbury Park. But just how relevant is it?Like most of Hare’s work, this is a play in which the personal is in bed with the political. Nadia, Read more ...
Marianka Swain
The news cycle waits for no man. When Robert Khan and Tom Salinsky’s thinly veiled Boris Johnson satire premiered in Edinburgh at the beginning of August, it seemed remarkably timely, coinciding as it did with BoJo announcing his intention to return to Parliament. Now, it’s at best reactive, and competing with a sea of far more penetrating editorials about the likelihood and reality of everyone’s favourite accident-prone chap actually running the country. Kingmaker is still atop its soapbox, but frantically and fatally jockeying for position.Khan and Salinsky’s central argument, conveyed in a Read more ...
fisun.guner
So, Exhibit B, the controversial “human zoo” using black actors to re-enact the role of ethnographic exhibits – semi-naked, chained, silenced by metal masks and degraded in metal collars – has been cancelled, due to the presence of protesters. The piece, a series of tableaux vivants recreating the human zoos popular in Europe and America in the 19th and even the first decades of the 20th century, is a work by white South African artist and theatre-maker Brett Bailey, and was being staged by the Barbican. Most recently it had been seen at the Edinburgh Festival, where the reaction Read more ...
aleks.sierz
Currently, the Royal Court is exploring the theme of revolution and resistance. In its studio space it is staging The Wolf from the Door, Rory Mullarkey’s excellent absurdist fantasy of a very English uprising. And now on its main stage is Tim Price’s fictional account of how Anonymous and LulzSec, a collective swarm of hacktivists, took on some of the most powerful capitalists in the world without even leaving their bedrooms. If this was revolution, or even just resistance, it was a very nerdy kind of activism.Teh Internet Is Serious Business starts by introducing Jake and Mustafa, two Read more ...