Theatre
Heather Neill
While Kafka specifically declined to indicate exactly what kind of creature Gregor Samsa becomes in his horrific overnight transformation, translators of the novella have gone for a variety of options: bug, beetle, cockroach or vermin. In this stage version, there is no attempt to imitate the appearance of any insect by means of costume or make-up; instead Gísli Örn Garðarsson uses his gymnastic skills to indicate movements alien to human beings while retaining Kafka’s underlying sense of a suffering man trapped in his new body.This production, a joint enterprise between the Lyric and Read more ...
Veronica Lee
David Hare's 1998 play wasn't terribly well received when it was first produced by the Almeida; several critics regarded it as a thin work, weakly directed by Richard Eyre, and opined that Liam Neeson was miscast in the role of Oscar Wilde. Now comes a revival, directed by Australian Neil Armfield that has, on the face of it, dream casting in Rupert Everett as the Irish playwright hounded by the British ruling classes for his homosexuality.It's a play of two halves, in more ways than one, as Hare creates a sort of diptych of Wilde's life. The first act is set in the louche Cadogan Hotel on Read more ...
Jasper Rees
The generation of alternative comedians who emerged around 30 years ago have long since elbowed their predecessors into the long grass and themselves become the establishment. Of no performer can that be said with more certainty than Rowan Atkinson. His rubbery physiognomy is instantly recognisable to billions, which is why he – or rather Mr Bean - was granted pride of place at the Opening Ceremony as guest artist with Sir Simon Rattle and the London Symphony Orchestra.His curriculum vitae barely needs restating. He is the only performer from Not the Nine O’Clock News who still makes a living Read more ...
aleks.sierz
Most of us would love to live in a happy family, but it’s the unhappy ones that make the most compelling drama. And few playwrights do familial tensions as instinctively as Polly Stenham, whose highly successful 2007 debut That Face and 2009 follow-up Tusk Tusk both explored the tensions between parents and children. In her new play, she revisits the mother-son relationship, and adds some thrilling twists to the bubbling brew.In the Royal Court’s dark and claustrophobic Theatre Upstairs the set makes an immediate statement. We are in the living room of a ramshackle manor house which is Read more ...
Laura Silverman
For all its ruminative merits, Richard Vergette's drama is not the “searing political thriller” it purports to be. It raises lots of interesting questions, but they get in the way of any deep emotive power.At the work's core is a relationship between a prisoner and the politician whose daughter he killed. The politician saves the prisoner from death row on the condition that he can educate him. The scenario has lashings of searing potential, but the play's overarching tone is distinctly pedagogical. There are messages about the value of education in reforming criminals; messages about Read more ...
Matt Wolf
Few productions give the sound designer absolute pride of place, but such is the presumably inevitable nature of a play called The Silence of the Sea that what isn't voiced counts every bit as much as what is. Gregory Clarke's aural landscape works overtime in a 95-minute piece (no interval) that couples speech with sustained silences, yes, but also with eerie ambient noises that suggest all manner of offstage activity complementing the brooding stillness on view. Engaging? Up to a point, and the acting is impeccable throughout, but even the most expert sound cues can't forestall a gathering Read more ...
Veronica Lee
A new Friday-night cabaret club opens tomorrow at the fabled Café de Paris in London's Leicester Square. The Grade II-listed venue's subterranean ballroom, where Marlene Dietrich, Frank Sinatra and Noël Coward once performed, will be home to Black Cat Cabaret, a weekly show of music, comedy, striptease and magic.Cabaret, and its close relation burlesque, is an artform that has undergone a rebirth in the past decade and, while critics may argue over what exactly defines cabaret, they at least agree that it's a suitably encompassing label for a gathering of acts with more than a touch of the Read more ...
Ismene Brown
Here’s an elegant thing to do before eight o'clock dinner - stroll out for an hour’s recital of a rollicking story-poem done by a leading actress in a hip underground venue with judiciously hip application of modern dance, then go off and diss it over your sushi. Very London life.And if the pleasure potential offered by Fiona Shaw and Phyllida Lloyd in recounting Samuel Taylor Coleridge’s splendid 1798 horror yarn The Rime of the Ancient Mariner is any yardstick, there ought to be a future for a periodic series restoring dramatic poetry to the public at the cocktail hour.Shaw herself ushers Read more ...
Laura Silverman
“What should it matter to us if a few words, then a few more and then a language just go,” asks Iain Finlay Macleod’s richly textured play. Somersaults may end in a shrug of inevitability, but its thrust is that language defines identity. In losing a few words, we do not just lose sounds. We endanger traditions, memories and relationships.The play, which was first staged at the Traverse Theatre in Edinburgh in March 2011, centres on James, an entrepreneur in his thirties from the Isle of Lewis, off the west coast of Scotland. James has a beautiful wife, a plush flat in Hampstead and Read more ...
Matt Wolf
The London theatre looks to be awash in great women of the English (and Irish) stage in a 2013 line-up of star roles that disproves the often-held assertion that the men get all the great stuff. Those who missed Hattie Morahan's award-winning Nora last summer in A Doll's House will have a second chance at the Young Vic in April, while Kim Cattrall brings her singular glamour to Tennessee Williams's Sweet Bird of Youth at the Old Vic come the summer.In addition to those two women are a handful (well, six, in fact, since one of them is part of a tantalising double-act) of leading ladies all Read more ...
Jasper Rees
The Mayan calendar recently suggested it was all over. It is now, almost. 2012 was, by anyone’s lights, an annus mirabilis for culture on these shores. The world came to the United Kingdom, and the kingdom was indeed more or less united by a genuine aura of inclusion. Clumps of funding were hurled in the general direction of the Cultural Olympiad, which became known as the London 2012 Festival, and all sorts leapt aboard. Just for a start, those opera companies who had been burning to perform a version of Vivaldi's L'Olimpiade could now finally proceed. At least three did.Not all of what Read more ...