Theatre Reviews
Richard III, Wales Millennium CentreThursday, 12 February 2015
The casual theatre-goer may be forgiven for thinking that, in Wales at least, serious theatre is going through a phase of chronic disregard for the audience. Yvonne Murphy’s all-female Richard III, performed in the rafters of the monolithic Wales Millennium Centre, is as serious as theatre gets, but finally crippled by its seeming disregard for the audience experience. Read more... |
Gods and Monsters, Southwark PlayhouseThursday, 12 February 2015
There is indeed something of Frankenstein’s monster about the handsome young gardener, with his flat-top haircut and gym-bulked torso, who has come to mow James Whale’s lawn. Read more... |
How To Hold Your Breath, Royal Court TheatreWednesday, 11 February 2015
Is there such a thing as New Writing Pure? By this I mean plays that not only have a really contemporary sense of character, plot and dialogue, but are also written in a distinctly individual language whose texture is singular and personal. Call it fine writing, call it literary, it doesn’t matter. The point is that this kind of theatre is about plays that are not only beautiful to look at, but beautiful to hear as well. Read more... |
Boa, Trafalgar StudiosTuesday, 10 February 2015
Casting existing partners is no guarantee of artistic success – for every Burton/Taylor, there is a Bennifer. Hannah Price has taken a risk, too, by pairing the revered Dame Harriet Walter with her comparatively unfamiliar American husband, Guy Paul, in Clara Brennan’s exposing two-hander. But it’s a risk worth taking, as the couple’s deep-rooted rapport lends a frisson to this stroll down memory lane. Read more... |
Little Light, Orange Tree TheatreSunday, 08 February 2015
The Orange Tree’s renaissance continues with this searing piece from playwright of the moment Alice Birch, who will shortly follow up last year’s subversive Revolt. She Said. Revolt Again with an interrogation of the porn industry for Rufus Norris’s debut National season. Her fearlessness is also in evidence in deceptive early work Little Light, an initially typical domestic drama that furiously erupts in a bruising, bravura 90 minutes. Read more... |
The Singing Stones, Arcola TheatreFriday, 06 February 2015
Kay Adshead’s new play about the Arab Spring has a beguiling premise: to tell the human stories behind the headlines. We all remember the news footage of the Arab Spring in 2011, from Tunisia to Egypt, with their huge crowds and mass protests. Contrary to the West’s clichéd view of passive Arab women, many of the protestors who took to the streets were female. They may have been veiled, but that didn’t prevent them from being radical activists. Read more... |
The Last of the De Mullins, Jermyn Street TheatreFriday, 06 February 2015
Even the most begrudging acquaintance with thematic foghorn Downton Abbey will have affirmed that the Edwardian era heralded momentous social change. Provocatively embedding this revolution in his work was largely forgotten “New Drama” exponent St John Hankin, whose suicide Shaw described as “a public calamity”; Granville-Barker dedicated his first volume of plays to him. Read more... |
Six Characters in Search of an Author, Théâtre de la Ville-Paris, BarbicanThursday, 05 February 2015
"The fantastical should come so close to the real that you must almost believe it," declared Dostoyevsky on Pushkin’s ghostly short story The Queen of Spades. Emmanuel Demarcy-Mota and his superb French ensemble have brought off the feat twice now at the Barbican: two years ago with the pachydermal transformations of Ionesco’s masterpiece Rhinocéros, and now through the intrusion of Pirandello’s nightmare family into a rehearsal of one of his plays. Read more... |
Di and Viv and Rose, Vaudeville TheatreFriday, 30 January 2015
Is there any bond more powerful than shared history? If life is the sum total of our experiences, then those who experienced it with us will always hold a piece of us – and none more intimate than those formative years when we are figuring out who we want to become. Friendships forged on the cusp of adulthood rival great affairs in their intensity, but can be just as difficult to maintain. Read more... |
The Hard Problem, National TheatreThursday, 29 January 2015
Here's the genuine hard problem facing commentators confronted with Tom Stoppard's new play of the same name: how do you honour the legacy of this extraordinary writer's first play in nine years that also marks its director Nicholas Hytner's National Theatre swansong and is – truth be told – a disappointment on multiple fronts? Read more... |
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★★★★★
‘A compulsive, involving, emotionally stirring evening – theatre’s answer to a page-turner.’
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.
★★★★★
‘This final part of Florian Zeller’s trilogy is the most powerful of all.’
The Times, Ann Treneman
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.
Book by 30 September and get tickets from £15*
with no booking fee.
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