Theatre
Matt Wolf
Inspiration jostles irritation in Marys Seacole, Jackie Sibblies Drury's Off Broadway hit from 2019 that has arrived at the Donmar as part of a banner season of late for Black American writing in the capital (cf. "Daddy": A Melodrama at the Almeida and Is God Is last year at the Royal Court).Riffing on the life and legacy of the Anglo-Jamaican nurse of the title who knew Florence Nightingale and lent invaluable assistance during the Crimean War, Drury's one-act play asks probing questions about the very workings of biography and the nature of bequest. And Nadia Latif's deeply felt production Read more ...
aleks.sierz
Let’s talk repertoire. Over the past decade the range of British plays, especially those from the 17th, 18th and 19th centuries, has shrunk in state-subsidized theatres. You can no longer easily see work by Shakespeare’s contemporaries, Restoration rakes or Georgian comics. George Bernard Shaw is in hiding. English 19th-century problem plays are invisible.The abandonment of older genres, of difficult plays, is just one symptom of subsidized theatre’s craven surrender to populism. Even 20th-century drama is under threat. So can the National Theatre buck this trend with this rediscovery of The Read more ...
Naomi Wallace
The Breach is a coming of age story and an age-in-the-making story. The play takes place in the U.S. in the 1970s and 1990s, switching back and forth between teenagers in Louisville and their older selves 15 years later. The promise of the 1970s in the US (and UK) when inequality was actively being reduced, and the undoing of that potential, are played out amongst this group of young friends. What I wanted to examine in the play is how societal pressures divide us from one another and how, when a betrayal strikes - that's to say, betrayal of one another and of youthful Read more ...
Tom Birchenough
The title of James Fritz’s play is allusive, oblique even. I assume it refers to how, in the aftermath of a catastrophe such as an erupting volcano, it’s the lava that spreads outwards, changing the form of the surrounding landscape. It’s not the epicentre of the disaster, but its adjoining regions, where the impact of what has happened can begin to be assessed.Indeed “Time since impact” is almost the first phrase projected onto the back wall of Amy Jane Cook’s set, where new texts appear beneath the five chapter-like headings that divide the action, following the stages of grief – denial, Read more ...
Gary Naylor
One of the more irritating memes (it’s a competitive field, I know) is the “Name a more iconic couple” appearing over a photo of Posh and Becks, or Harry and Megan, or Leo and whoever. I’ve always been tempted to close the discussion down with a photo of Bonnie and Clyde, because couples do not come more iconic than they are. So it’s a surprise to discover that Nick Winston’s production is the first ever musical dedicated to them in the West End, reviving a show that was in and out of Broadway ten years ago quicker than the Barrow gang were in and out of a Wells Fargo bank. Since then, Read more ...
Laura de Lisle
The title is so long that the Royal Court’s neon red lettering only renders the first three words, followed by a telling ellipsis. But lyrical new play For Black Boys Who Have Considered Suicide When the Hue Gets Too Heavy lives up to its weighty name.Writer-director Ryan Calais Cameron shows us Black masculinity in all its nuances and contradictions, presented by six actors so naturally charming it’s impossible not to fall in love with them. This is an odyssey through Black masculinity, a complex navigation of a sea of troubles and expectations and joy and love. Line by line, each man’s soul Read more ...
Rachel Halliburton
If Nero fiddled while Rome burned, then Boris Johnson has played the whole sodding orchestra. Between the parties, the lying, the enabling of Russian financial interests and the record European Covid death-toll he has not just traduced Pitt, he has tap-danced on Churchill’s grave in his narcissistic attempt to assert gravitas.It seems more than fitting, then, that Mike Bartlett has revived the most decadent form of theatre to chronicle London in the age of Johnson. After decades of Puritanism, the Restoration encouraged laissez-faire culture for the lazy and disaffected – here we see a city Read more ...
Gary Naylor
Zorro (what a name!) is back, swashing and buckling his way into the West End, 13 years after he left and now not the only one wearing a mask. He’s also an entertainer turned political leader, inspiring his people to resist an evil martinet. Well, that sort of thing is back in fashion too.Stephen Clark and Helen Edmundson’s story sets up two brothers in the Spanish outpost of Los Angeles (it’s 1805) with one, Diego – younger, the favourite – sent to Barcelona to learn the skills he’ll need to lead the pueblo when his father dies, and the other, Ramón – older, resentful – staying in California Read more ...
Helen Hawkins
Ché Walker claims he wrote Wolf Cub, now in the Hampstead Downstairs studio space, in a two-day blitz prompted by Donald Trump’s election win in 2016. He was working in Atlanta at the time, the home city of Claire Latham, the solo performer for this piece. With Walker directing and the twice Olivier-winning actor Sheila Atim, no less, providing evocative incidental music, they have created a haunting 80-minute monologue that embraces epic events.The locus of the spasm the US was experiencing when Walker sat down to write Wolf Cub is traced back to Ronald Reagan’s two-term Read more ...
Rachel Halliburton
Jane Austen’s waspish vision revealed the vanities, delusions and cynical financial calculations that underpinned most of the relationships of her day. The element in which she thrived was repression; the heart constrained beneath the corset, the raging passion held firmly in place by that most important part of an Englishman’s anatomy, the stiff upper lip.This production – which opened to acclaim at the Manchester Exchange in 2017 – rips off the corsets and liberates the lips so that the vibrant, sometimes even violent subtext is revealed. In place of Austen’s assiduous filleting of Read more ...
Rachel Halliburton
Megalomania is inherently theatrical. So it feels like it was only a matter of time before Donald Trump took to the boards, blasting the assembled crowd with his tangerine paranoia and clownish nihilism. What was less predictable was the turbo-charged brilliance of his reincarnation by Bertie Carvel, whose pitch-perfect observation of every physical tic is underscored by the understanding of Trump’s primal need to reduce everything around him to its basest physical state. Whether it’s the alpha-male gorilla waggle of his buttocks while playing golf or his putrid inability to value any woman Read more ...
Tom Birchenough
Danya Taymor’s production of “Daddy” A Melodrama has a huge exuberance: a tour de force in itself, it's also a scintillating introduction to the work of Jeremy O Harris. The young American dramatist earned considerable attention, and acclaim for the acuity of his investigation of race issues, for his 2018 Slave Play, but it's this earlier piece, written when Harris was in his mid-twenties, that reaches London first (after a two-year Covid delay).The music, lighting, movement and sheer dramatic craft – not least the stage-front swimming pool in which a fair part of the action takes place – has Read more ...