Theatre
Matt Wolf
A welcome West End upgrade is the order of the day at J'Ouvert, the debut play from Yasmin Joseph whose 2019 premiere at South London's Theatre 503 additionally marked the directing debut of the actress Rebekah Murrell. And now here it is, all but prompting spontaneous dance breaks throughout the (socially distanced) Harold Pinter Theatre as the second in the producer Sonia Friedman's audacious RE:EMERGE series, offering highly visible platforms to emerging playwrights: ANNA X completes the trio of commercial premieres next month. For now, J'Ouvert has the buoyant effect prompted by the Read more ...
aleks.sierz
It is an index of the ambition of some venues that they are not only reopening their doors, but also staging plays that remind us of the talents of our best writers and actors. Although the stage monologue has recently been almost as infectious as the Delta variant, and as tiresome, the Lyric Hammersmith offers three for the price of one in its reopening programme. Set in West London, this triple bill of monologues examines the legacy of Empire, the tensions of racism and the pleasures, and pains, of parenthood. Although each playlet is distinct, somehow, lurking underneath the surface, or Read more ...
Matt Wolf
There's commanding, and then there's Michael Sheen, who sweeps on to the Olivier stage 15 minutes or so into the new National Theatre revival of Under Milk Wood and scoops up the entire production with it. Inheriting a role made to order for this Welshman, Sheen takes to his fellow countryman Dylan Thomas's 1954 classic as if on a date with destiny. Lyndsey Turner's approach to the intrinsically piecemeal material may at times tilt towards the fussy, but Sheen comes at this portrait of small town life like a man possessed and holds the audience in his disheveled, gleaming-eyed grip from the Read more ...
Gary Naylor
Thirty years on, Alex and Jason meet at a university reunion and cab it back to Jason’s old student house where Alex is thinking “probably…” and Jason is thinking “probably not…” - each, it turns out, with good reason. We look on as the clumsy fumblings of youth get replaced with the anxious fumblings of middle age, two temporal spaces coming together in one room. Deborah Bruce’s new play for the Hampstead Downstairs eschews the opportunity to take potshots at her generation (no “OK boomer” vibe here) and instead treats seriously a collection of issues that will have said boomers Read more ...
David Nice
Just when you thought you couldn’t take any more one- or two-handers, online or in the theatre, along comes the supreme masterpiece to jolt you out of any fatigue. Every line counts as Winnie, buried up to her waist and then up to her neck, determines that words will never fail her. And what poetry there is in even the most banal observation, the endless repetition. I could probably watch a different actor in the role every month, and still find riches and unexpected insights in Beckett’s great play, which hasn’t dated in any way. Juliet Stevenson at the Young Vic gave us a quirky Read more ...
Helen Hawkins
Limbo, in Jack Thorne’s latest play, is a room lined ceiling-high with drawers, a sort of morgue rebooted as a vast filing system. It apparently provides comfy accommodation for the souls waiting to pass over, and its activities are run in tight bureaucratic fashion by Five (Kevin McMonagle), a crisp but likeable Scot with a nice line in candour and a squeezebox on which he plays Gershwin melodies. Balloons erupt through the floor of the National's Dorfman auditorium; cherry blossom petals (“made by three little ladies from Northampton”, the operative named Four notes) drift down from the Read more ...
David Lan
In June 2001 the London Festival of International Theatre brought Amir Nizar Zuabi’s Alive from Palestine to the Royal Court Theatre for one performance. The Guardian said, “How often do you see a piece of necessary theatre? These 'stories under occupation' fall precisely into that category. We are used to the idea of theatre as a diversion. Here it is fulfilling a more important function of bringing us the news.”I didn’t see it and I couldn’t get hold of a full script – perhaps there wasn’t one – but by reading a print-out of the English surtitles I felt I’d got enough of a sense of its Read more ...
Maria Aberg
When theatres in the UK closed last March, I found myself in a vacuum. Having been a freelance theatre director for over 15 years, I was used to busy – juggling a hectic schedule of directing shows with the reality of being a mum to two toddlers. Inspiration was something I might find in between opening nights, meetings and nursery runs – if I was lucky.In the middle of that first interminable lockdown, I found myself sitting in a small room in the Suffolk countryside, staring at a computer screen. On a whim, I had signed up to a genealogy website and was stumbling head-first down the time- Read more ...
tanika.gupta
On the first day of rehearsals for Out West at the Lyric Hammersmith in May, myself and fellow playwrights Roy Williams and Simon Stephens stood, masked up and lateral flow tested for Covid, and listened as the Lyric Hammersmith's artistic director Rachel O’Riordan welcomed us at the traditional theatrical “meet and greet".As I looked around the room at the producers, stage managers, sound, lighting, costume and set designers, and the communication and theatre staff, I was struck by the enormity of the moment. I’d missed this so much - for over a year! Rachel talked about how important it was Read more ...
Rachel Halliburton
This blistering, fearless play about an 18-year-old black entrepreneur on the King’s Road raises a myriad of uncomfortable questions that resonate profoundly with the Black Lives Matter debate. It’s just one remarkable aspect of The Death of a Black Man that it was written 46 years ago, and another that such a radical work was first staged not at the Royal Court but at the Hampstead Theatre, to which it now makes its return.The playwright Alfred Fagon is currently best known for the award for black writers which bears his name: past winners include Roy Williams and Michaela Coel. Fagon died Read more ...
Veronica Lee
For 75 captivating minutes, Ralph Fiennes digs deep into TS Eliot’s Four Quartets, the poet’s interlinked reflections on time, faith and the quest for spiritual enlightenment – in what is the first solo adaptation of Eliot’s work for the stage, a co-production between Theatre Royal Bath and the Royal & Derngate, Northampton.The quartets were written between 1935 and 1941 (published as a collection in 1943) but their insight and humanity – not to mention humour – still ring true to today’s audiences. And Covid has given us another prism through which to view two of the most famous lines in Read more ...
aleks.sierz
There’s something definitely inspiring about producer Sonia Friedman’s decision to reopen one of her prime West End venues with a season, called RE:EMERGE, of three new plays. The first drama is American playwright Amy Berryman’s ambitious debut, Walden, and this will be followed later in June by Yasmin Joseph’s J’Ouvert and then in July by Joseph Charlton’s Anna X. With top directors and excellent casts, this is a vote of confidence in the power of new work from one of our best producers. Berryman’s Walden, for example, is directed by Ian Rickson — who curates the season — and stars the ever Read more ...