National Theatre
The Prisoner, National Theatre review - Peter Brook's latest falls sadly flatTuesday, 18 September 2018
Of the Edinburgh International Festival’s three productions by 2018’s resident company, Paris’s Théâtre des Bouffes du Nord, The Prisoner is the most gnomic, the most baffling, and, frankly, the most disappointing. Which is a great shame,... Read more... |
Sir Peter Hall: a day of thanksgiving and celebration for a colossus of cultureWednesday, 12 September 2018
Sir Peter Hall had no ordinary life, as might be expected from the director who more than any other defined the British theatre of the last half of the 20th century. The same can be said of the unforgettable two-part send-off he received exactly a... Read more... |
Pericles, National Theatre review - a fizzingly energetic productionMonday, 27 August 2018
A break-dancing mini Michael Jackson, a transvestite Neptune, and a hero who wears his hubris as proudly as his gold-tipped trainers, are unconventional even by Shakespeare’s standards, but they all play a key part in this joyful act of subversion.... Read more... |
Home, I'm Darling, National Theatre review - Katherine Parkinson in career-best formWednesday, 01 August 2018
Add Katherine Parkinson to the top rank of theatre performers in a town where talent abounds. As Judy, the retro-minded housewife at the bruisingly comic heart of Laura Wade's National Theatre/Theatre Clwyd collaboration Home, I'm Darling, ... Read more... |
Exit the King, National Theatre review - vivid, brilliant production that somehow leaves you feeling emptyThursday, 26 July 2018
The image of a raging, narcissistic tyrant, convinced that he can crush even death into oblivion, has all too many resonances these days. So this visually spectacular National Theatre resurrection of Ionesco’s 1962 play, adapted and directed by... Read more... |
The Lehman Trilogy, National Theatre review - an acting tour de forceSaturday, 14 July 2018
There's surprising and then there's The Lehman Trilogy, the National Theatre premiere in which a long-established director surprises his audience and, in the process, surpasses himself. The talent in question is Sam Mendes, who a quarter-century or... Read more... |
Julie, National Theatre review - vacuous and unilluminatingSaturday, 09 June 2018
It seems appropriate that an onstage blender features amidst Tom Scutt's sleek, streamlined set for Julie given how many times Strindberg's 1888 play has been put through the artistic magimix. Rarely, however, have the results been less illuminating... Read more... |
Translations, National Theatre review - an Irish classic returns with cascading forceThursday, 31 May 2018
What sort of physical upgrade can a play withstand? That question will have occurred to devotees of Brian Friel's Translations, a play that has thrived in smaller venues (London's Hampstead and Donmar, over time) and had trouble in larger spaces: a... Read more... |
Ian Rickson: 'I'm an introvert, I want to stop talking about myself' - interviewTuesday, 22 May 2018
Ian Rickson’s route into theatre was not conventional. Growing up in south London, he discovered plays largely through reading them as a student at Essex University. During those years he stood on a picketline in the miners’ strike, and proudly... Read more... |
Nine Night, National Theatre review - Jamaican family drama full of spiritTuesday, 01 May 2018
The good news about so-called black drama on British stages is that it has broken out of its gangland violence ghetto and now talks about a whole variety of other subjects. Like loss. Like death. Like mourning. So London-born actress Natasha Gordon’... Read more... |
Absolute Hell, National Theatre review - high gloss show saves over-rated classicThursday, 26 April 2018
Rodney Ackland must be the most well-known forgotten man in postwar British theatre. His legend goes like this: Absolute Hell was originally titled The Pink Room, and first staged in 1952 at the Lyric Hammersmith, where it got a critical mauling.... Read more... |
The Great Wave, National Theatre review - moving epic of global lossTuesday, 20 March 2018
You could call it an absence of yellow. Until very recently British theatre has been pretty poor at representing the stories of Chinese and East Asian people, and even of British East Asians. In 2016, Andrew Lloyd Webber called British theatre “... Read more... |
