Theatre Reviews
Berenice, Donmar WarehouseWednesday, 03 October 2012
It’s not often that the works of 17th-century French classicist playwright Jean Racine make an appearance in the West End, and you can’t fault the ambition of the Donmar’s artistic director, Josie Rourke, in bringing us this new version of his romantic tragedy. But if it’s admirably courageous, truth be told, it makes for rather punitive viewing. Read more... |
Charley's Aunt, Menier Chocolate FactoryWednesday, 03 October 2012
A revival of an old play with a broad sense of fun and a turbo-charged role for a co-star of hit sitcom Gavin & Stacey? No, not One Man, Two Guvnors, but this well-dressed production of the classy 1892 farce by Brandon Thomas starring Mathew Horne. One cannot help thinking that the Menier is hoping that this might do for Horne what One Man... did for James Corden. Read more... |
Treasured, Anglican Cathedral, LiverpoolTuesday, 02 October 2012
You could say that the Titanic has been done to death, and that any new show would really need to say something different, something so far unknown, unearth a new angle, find new facts. To some extent, Treasured does that. Who’s ever heard of Mouser, the Titanic cat, who is supposed to have carried all six of her new-born kittens off the ship in Southampton? Allegedly her feline prescience sensed impending doom. Read more... |
Private Lives, Chichester Festival TheatreSaturday, 29 September 2012
“Has it ever occurred to you that flippancy might cover a very real embarrassment?" Elyot's response to fulminating Victor is a line of defence – and since he has run off with Victor's wife Amanda he has a good deal of defending to do. But the line is also Coward’s statement of intent. It's a direction as to how Private Lives works and is the key to why it’s not just his funniest and finest play but one of the greatest in the language. Read more... |
A Chorus of Disapproval, Harold Pinter TheatreSaturday, 29 September 2012
The West End seems to be recession-proof, with rising profits, rising ticket prices and few empty theatres. But is this because commercial theatre is becoming increasingly formulaic? How about this for a recipe: take a tried and tested play by a national treasure, cast it with a celebrity or two and make sure that the evening is no great strain on the audience. Yes, that might work. But is this the case with this current revival of Ayckbourn’s thesp-fest? Read more... |
Much Ado About Nothing, Noël Coward TheatreFriday, 28 September 2012
Never quite at the top of the Shakespearean canon, Much Ado About Nothing now seems more vital and adaptable than ever – and vastly darker than, say, Kenneth Branagh’s sun-kissed screen romp acknowledged back in 1993. The cult director Joss Whedon unveiled his low-budget, film noir version earlier this month at the Toronto Film Festival to rave reviews. Read more... |
The Guid Sisters, Royal Lyceum, EdinburghWednesday, 26 September 2012
The 1989 production at the Tron in Glasgow of Bill Findlay and Martin Bowman’s translation of Les Belles-Soeurs, the 1965 play by Québécois writer Michel Tremblay, has become a landmark event in Scottish theatre. Read more... |
Let It Be, Prince of Wales TheatreTuesday, 25 September 2012
In Beatles’ lore, the Prince of Wales Theatre is totemic. Here, on 4 November 1963, the cheeky quartet played the Royal Command Performance before the Queen Mother and Princess Margaret. John Lennon quipped, “Would the people in the cheaper seats clap your hands? And the rest of you, if you’ll just rattle your jewellery”. Now, 50 years on from the release of their first single, a tribute of sorts is taking place on the same stage with the arrival of Let It Be in the West End. Read more... |
Mudlarks, Bush TheatreSaturday, 22 September 2012
The popular image of the state-of-the-nation play is that of a large-scale, big-cast drama that has an epic time span and lots of highly articulate speeches that analyse the way we are. But sometimes a small-cast play with a much more modest range can be equally successful in saying something worth hearing not only about a handful of characters, but also about contemporary Britain. Such a play is Vickie Donoghue’s powerful debut, which was first seen at the HighTide Festival in May. Read more... |
Mademoiselle Julie, Barbican TheatreFriday, 21 September 2012
Let one visual artist and one fashion designer loose on a theatre production and you may find both set and costumes upstaging the actors. Laurent P. Berger has designed a Miers Van der Rohe-type modernist glass box, with luxurious white surfaces and Dan Flavin-esque tube lighting, while Lanvin designer Alber Elbaz has dressed the star, Juliette Binoche, in a show-stopping full-length gold-sequinned number slashed to the thigh. 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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