Theatre Reviews
Coriolanus, Donmar WarehouseThursday, 19 December 2013
In his later life Shakespeare, who never ducked ways to define a hero, offered the public a challenge: Coriolanus is a professional warrior, deaf to reason, patrician hater of people power. To beat all, this man’s man’s a mother’s boy. In a world trying to be newborn in democracy and a big society, Coriolanus sticks out like a sore thumb. Read more... |
Fortune's Fool, Old VicTuesday, 17 December 2013
There’s cruel comedy and human drama aplenty in Fortune’s Fool, so much so that it’s hard sometimes to know whether we’re watching farce or tragedy. But it’s a mixture that works well in Lucy Bailey’s production of Ivan Turgenev’s early play in this version by Mike Poulton, making its London debut at the Old Vic. Read more... |
Richard II, BarbicanFriday, 13 December 2013
Richard II arrives in London after a highly successful Stratford run and while the glow of David Tennant’s Hamlet resides still in the memory. Surprisingly, the pleasure of the production lies not so much in dazzle as solidity. This doesn’t give a bold new reading but a robust interpretation; it is not a star vehicle (so often with the star surrounded by mediocre support) but one of the strongest company performances of Shakespeare that I’ve seen for many a year. Read more... |
American Psycho, Almeida TheatreFriday, 13 December 2013
Among the multiple achievements of American Psycho, any one of which might be enough to make Rupert Goold's long-awaited Almeida season-opener the banner musical of a notably busy year for the form, a particular paradox deserves mention up front. Here's a piece steeped in material (the Bret Easton Ellis novel from 1991 and its film version nine years later) that fetishises surfaces and wallows in emptiness and that - a grand hurrah! - turns out itself to have a lot to say. Read more... |
The Duck House, Vaudeville TheatreWednesday, 11 December 2013
This political satire is hardly a case of rapid-response playwriting. Opening in London's West End last night, after a month touring the regions,The Duck House is a farce about a fictional MP caught up in the parliamentary expenses scandal which hit the headlines way back in 2009. Read more... |
Beauty and the Beast, Young VicTuesday, 10 December 2013
"My mum was given this new wonder-drug for morning sickness when she was pregnant with me," explains Mat Fraser at the start of Beauty and the Beast. "It was called Thalidomide. That's why I was born with arms like this." Read more... |
Drawing the Line, Hampstead TheatreTuesday, 10 December 2013
The Partition of India and Pakistan in 1947 is one of those epoch-making events that are so huge as to be almost beyond our comprehension. It affected the lives of literally millions of people. And has a resonance today. To understand this cataclysmic event, you feel, will require six hours of documentary, a two-month mini-series or a novel of at least 600 pages. Yet here is Howard Brenton’s new play, which opened last night, and it tells the story in one quick evening. Read more... |
From Morning to Midnight, National TheatreMonday, 09 December 2013
We first see the bank clerk, who can’t bear his dull life, serving behind the cashier's till, like an automaton. In Melly Still's hugely inventive, visually stunning multimedia production of From Morning to Midnight – Georg Kaiser's fearlessly weird German Expressionist drama from 1912 – Adam Godley's Clerk starts out as a desiccated nonentity, nose to the grindstone. Read more... |
Let the Right One In, Royal Court TheatreFriday, 06 December 2013
Vampire romance is a genre which has a mysterious tendency. Every time it migrates from one art form (say novel) to another (say film) it loses some of its darkness and acquires a strange sweetness. So it was with Let the Right One In, a 2004 novel by Swedish penman John Ajvide Lindqvist, which was made into a slightly less dark tale in its first Swedish film version (2008) and then into an even sweeter American film adaptation as Let Me In (2010). Read more... |
Emil and the Detectives, National TheatreThursday, 05 December 2013
Read Erich Kästner’s 1928 novel about young Emil Tischbein and the Berlin boys he enlists to catch a thief, and you’ll come away feeling warm if slightly incredulous at the strong moral compass of all the kids and most of the adults. Gerhard Lamprecht’s early (1931) “talkie”, with a screenplay by Billy Wilder, has darker undertones, much admired by the obsessive 19-year-old Benjamin Britten. 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*
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