Theatre Reviews

Brighton Festival: Stella, Theatre Royal

Nick Hasted Sunday, 29 May 2016

A Victorian transgender celebrity is a fitting and timely subject for this Brighton Festival premiere. Writer-director Neil Bartlett turns Stella’s scandalous life into a stark horror story, marked by the regular, jarring crash of glass which sounds like splintering flashbulbs, mirror images breaking and jabbing at an older man (Richard Cant) whose hand is already slashed and bandaged, as he awaits a fatal knock on the door.

The Threepenny Opera, National Theatre

alexandra Coghlan Friday, 27 May 2016

Last seen at the National Theatre over 10 years ago, Brecht and Weill’s The Threepenny Opera is back in a new adaptation by Simon Stephens. But looking at Rufus Norris’s epic-theatre-lite production – all exposed stage-mechanics and makeshift sets – and listening to Stephens’s brutal but non-committal text, you’d swear it had never been away.

Comment

Romeo and Juliet, Garrick Theatre

Marianka Swain Thursday, 26 May 2016

Trouble remembering in which country Shakespeare’s star-crossed lovers cross paths? Branagh’s panting paean to Fellini will sort you out. Stylish as a monochromatic Vogue spread, and as self-consciously Italian as Bruno Tonioli guzzling lasagne in a gondola, it’s not exactly a triumph of cultural nuance.

A View from Islington North, Arts Theatre

aleks Sierz Wednesday, 25 May 2016

Is there any point to political satire? The great thing about the glory years of this genre in, say, the early 1960s was that the jokes punctured people’s deepest held beliefs in a deferential society, or that, as in say the 1980s, they had a target that was an unbearable person, Maggie Thatcher.

Running Wild, Regent's Park Open Air Theatre

Miriam Gillinson Wednesday, 25 May 2016

Running Wild is a theatrical safari with no expenses spared. This latest stage adaptation of a novel by Michael Morpurgo (of War Horse fame) boasts a jungle-full of puppets – a majestic elephant and some affectionate orangutans included – and a tsunami that sweeps right over the audience.

Human Animals, Royal Court Theatre

aleks Sierz Tuesday, 24 May 2016

As I sit down to write this, a crow is cawing outside my window while night falls; for an awkard moment I think it might be a raven, and this reminds me of Edgar Allan Poe. Is the black bird saying “Nevermore”? And why should that worry me? Well, I’ve just seen Stef Smith’s resonant and disturbing new play, Human Animals, and it’s made me particularly sensitive to all of the creatures with which we share our urban spaces.

King John, Rose Theatre, Kingston

Ismene Brown Saturday, 21 May 2016

According to Sellar and Yeatman in 1066 and All That, the true Bible of English history, King John was a Bad (to be exact, an Awful) King. Shakespeare had quite an interest in Bad Kings – Richards II and III were also subjected to his selective dramatist’s forensics, and like Sellar and Yeatman he only remembered the bits he wanted to remember, and then partially.

Blue/Orange, Young Vic

aleks Sierz Friday, 20 May 2016

Joe Penhall’s Blue/Orange is one of the best plays of the past two decades. First staged at the National Theatre in 2000, with the dream cast of Chiwetel Ejiofor, Andrew Lincoln and Bill Nighy, it won an Olivier Award for Best Play and has been constantly revived ever since. Not only does it have a strong story, but the characters, and their interaction, are credible, engaging and dramatic, while the play fizzes with ideas as well as emotions. It is a contemporary classic.

The Invisible Hand, Tricycle Theatre

Jenny Gilbert Friday, 20 May 2016

In the long tradition of fictional characters who embody their monikers, the naming of Nick Bright hardly counts as the most colourful, but it has a sardonic edge. Clearly the young American banker at the centre of Ayad Akhtar’s tight political thriller is too bright for his own good.

Monster Raving Loony, Soho Theatre

aleks Sierz Wednesday, 18 May 2016

The sense of humour is a funny thing. It raises questions about whether what we find funny can tells us anything about who we are, or what we might become. The case of Screaming Lord Sutch, the semi-legendary rock singer and founder of the satirical Official Monster Raving Loony Party, begs the question: is his wild eccentricity an example of our national pride in tolerating bonkers people, or just an individual act of wonderful silliness?

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The Observer, Kate Kellaway

Direct from a sold-out season at Kiln Theatre the five star, hit play, The Son, is now playing at the Duke of York’s Theatre for a strictly limited season.

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Written by the internationally acclaimed Florian Zeller (The Father, The Mother), lauded by The Guardian as ‘the most exciting playwright of our time’, The Son is directed by the award-winning Michael Longhurst.

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