Theatre
alexandra.coghlan
I hadn’t heard the term “cultural cringe” until I went to live in Australia. Holiday encounters had been so full of sunshine, art, water and music that it hadn’t occurred to me to doubt the cultural confidence and energy of the nation that gave us Patrick White and Peter Carey, Baz Luhrmann and Brett Whiteley, Joan Sutherland and Robert Hughes. But once I did, the phrase was everywhere. Google it and you’ll find hundreds of recent articles all devoted to the same basic premise: when it comes to culture, Europe is just better than Australia.It was 1950 when AA Phillips first coined the term. Read more ...
aleks.sierz
Political farces always start with a distinct disadvantage — the reality is so much sillier than the fictional version. Never mind, if anyone can make a stage comedy funny it is Ray Cooney, who is not only one of the most entertaining playwrights of our age, but also a national treasure in his own right. This play, originally written in 1984, predates the recent dip in the popularity of MPs, and also features a neat cameo appearance by its author.Here laughter is a poor substitute for orgasmThe set-up is classic. A Cabinet Minister, called Richard Willey (yes, really), wants to have sex with Read more ...
Naima Khan
When was the last time you took a swipe at someone, and I mean a real swipe - a physical, emotional, cruel, unapologetic swipe of the sort that comes thick and fast in Vicky Jones's exhilarating new play, The One? The three-hander returns the actress Phoebe Waller-Bridge to the site of her solo (and Olivier-nominated) triumph, Fleabag, only this time in a play written by the colleague who directed her last time out.Waller-Bridge's Jo and partner Harry (Rufus Wright, last year's David Cameron in The Audience) met when she was his student and he her lecturer, and they've been living in Read more ...
kate.bassett
Maybe, just maybe, Noël Coward is scarier than you think. As a rule of thumb, when ghosts feature in plays, they're meant to be creepy as hell, calling for some horrid crime to be revenged, and/or a manifestation of the living characters' profoundly troubled thoughts. In Blithe Spirit – which opened last night, with Michael Blakemore restaging his 2009 Broadway production – Coward’s protagonist, Charles Condomine, finds that he's prone to apparitions. But he hardly seems mentally agonized by way of explanation.Ensconced in the drawing room of his timber-framed country house, Read more ...
Caroline Crampton
It's unusual for a play to be political without being preachy, or dull, or both. As obsessed as we are with class distinctions, we aren't as good as we should be at pulling them apart. Invincible is therefore something rare, for it turns social distinctions into compelling comic drama.Alan Ayckbourn is generally considered to be the master of this kind of writing. Given that, it is perhaps unsurprising that Invincible's writer, Torben Betts, has worked as a resident dramatist at Ayckbourn's famous stomping ground, the Stephen Joseph Theatre in Scarborough.If Invincible has a flaw it is that Read more ...
Jasper Rees
When a book is published, there are broadly speaking three alternative fates which lie in wait. It goes global, it sinks without trace, or it sells modestly and steadily to the readership for whom it was intended. There is, however, another potential option, which is that it catches a thermal and veers off in an unforeseen direction.In 2008 my book I Found My Horn was published. It told of my fractured association with a musical instrument I learned for seven years in my youth, which I then resumed on the brink of my forties. I gave myself a target: at the end of the year I had to stand up in Read more ...
Caroline Crampton
The Husbands is set in a feminist utopia – or so it appears at first glance. Shaktipur, the place the characters call home, is a rural matriarchal community in which women are leaders and may take multiple husbands to address the demographic imbalance between the genders caused by the killing and abandoning of girl-children in other parts of Indian society. Their belief system is structured around giving women choices, and they prize baby girls as a sign that their goddess is pleased with them.At an individual level, though, this system is not quite so straightforward. The action of the Read more ...
Glyn Môn Hughes
A collective shiver went round the arts community of Merseyside when the Liverpool Everyman announced that it was to be razed to the ground before rising again from the ashes like the theatrical phoenix of the region. And now, a little more than two years after the original theatre closed amidst much breast-beating, the Everyman is back, and with a spanking new production of Twelfth Night that constitutes a national event. The new theatre is light, airy, and accessible, and a massive asset to the creative hub that is Hope Street. And Gemma Bodinetz's way with Shakespeare's timeless comedy of Read more ...
Heather Neill
The full title of Jackie Sibblies Drury's play, first produced in Chicago in 2012, is deliberately gauche and in need of editing. No review is complete without it, however, so here it is: We Are Proud To Present A Presentation About The Herero of Namibia, Formerly Known As Southwest Africa, From The German Sudwestafrika, Between The Years 1884 - 1915. As they enter through the rehearsal room at the Bush, the audience encounters the group of well-intentioned young people supposedly keen to tell us the tragic story of the first genocide of the 20th century. The walls are covered, as they Read more ...
Simon Munk
Immersive theatre is a wonderful thing. It has closed up the cosy distancing of actors appearing on stage, the silent, passive audience below in the darkness; it has shaken up the way classic stories can be told – rebooting time-worn plays; and it has delivered some truly magical, mysterious experiences. But there's a problem. At the heart of most of the larger immersive theatre experiences such as Punchdrunk's The Drowned Man there's a passivity – the audience is still just an audience.Witness the frenzied scramble of attendees to The Drowned Man feverishly racing after actors, tweeting Read more ...
aleks.sierz
This venue continues its promotion of American drama with another prize-winning play from across the pond. Hot on the heels of Gina Gionfriddo’s Rapture, Blister, Burn, with its casting of Emila Fox, comes this play by David Lindsay-Abaire, who won the 2007 Pulitzer Prize for his critically acclaimed Rabbit Hole, which also earned several Tony Award nominations and a film adaptation with Nicole Kidman. For Good People, Hampstead has tempted national treasure and Olivier Award-winning actress Imelda Staunton to play the lead.This is that rare thing — an American play about classHer character Read more ...
Naima Khan
From the creators of the much-lauded The Oh F*ck Moment comes I Wish I Was Lonely, a participatory look at modern communication and the human psyche. Flouting the rules of mainstream theatre, this by turns poetic yet provocative piece encourages the audience to keep all mobile phones on (imagine!), to answer whatever calls may come through, and even to use Twitter and Facebook to our hearts' delight. And having provided our mobile numbers on a piece of card, we receive the number of an anonymous member of the audience in return. So begins a newly fragile, temporary connection to a stranger we Read more ...