National Theatre
Sondheim at 90 Songs: 1 - 'I'm Still Here'Monday, 23 March 2020
Surely there’s never been a more apt time for Sondheim’s great cry of defiance? “I’m Still Here” is sung by showgirl-turned-actress Carlotta in Follies (1971) – added during the Boston try-out in place of “Can That Boy Foxtrot”. Loosely... Read more... |
The Seven Streams of the River Ota, National Theatre review - theatre at its transcendent bestMonday, 16 March 2020
If you want to pinpoint the genius of Robert Lepage’s multi-faceted seven-hour epic, that has returned to the National Theatre 26 years after it first dazzled British audiences in 1994, you might as well begin with a stethoscope. The stethoscope is... Read more... |
The Best Plays in LondonWednesday, 19 February 2020
London is the theatre capital of the world, with more than 50 playhouses offering theatrical entertainment. From the mighty National Theatre to the West End, the small powerhouses of the Donmar Warehouse and the Almeida and out to the fringe... Read more... |
The Visit, National Theatre review - star turn bolsters baggy rewriteSaturday, 15 February 2020
Lesley Manville’s thrilling career ascent continues apace with The Visit, which marks American playwright Tony Kushner’s return to the National Theatre following the acclaimed Angels in America revival nearly three... Read more... |
Death of England, National Theatre review - furious but fabulousFriday, 07 February 2020
Is this an angry island? Although the British national character (if there is such a thing) has traditionally been one of reserve, repression and restraint, more recently it has become increasing passionate and full of anger. More a clenched fist... Read more... |
The Welkin, National Theatre review - women's labour is a painThursday, 23 January 2020
History plays should perform a delicate balancing act: they have to tell us something worth knowing about the past, that foreign country where they do things differently, and also something about our current preoccupations. Otherwise, what's the... Read more... |
The Ocean at the End of the Lane, National Theatre review - terrifying, magical coming of age storyThursday, 12 December 2019
This scary, electrically beautiful adaptation of Neil Gaiman’s book about living on the faultline between imagination and reality is a fantastically alternative offering for the festive season. While the parameters of the story are dark, it’s an... Read more... |
Three Sisters, National Theatre review - Chekhov in time of warWednesday, 11 December 2019
Inua Ellams’ Three Sisters plays Chekhov in the shadow of war, specifically the Nigerian-Biafran secessionist conflict of the late 1960s which so bitterly divided that newly independent nation. It’s a bold move that adds decided new relevance... Read more... |
My Brilliant Friend, National Theatre review - sleek spectacle almost eats its charactersWednesday, 27 November 2019
It took no time for Elena Ferrante's two Neapolitan friends to join the ranks of great literary creations: Lenù as successful writer-narrator, critical of her past ambivalence; Lila the unknowable fascinator, her brilliance often diverted into... Read more... |
The Antipodes, National Theatre review - mysterious and gently momentousWednesday, 06 November 2019
The National Theatre is forging its own special relationship with American playwright Annie Baker, having now produced three of her plays within four years, all in their smallest Dorfman space. The result has allowed a gathering acquaintance... Read more... |
Translations, National Theatre review - stunning revival of poignant tragicomedyTuesday, 22 October 2019
At a point in history where – yet again – a few misplaced words from English politicians could wreak havoc with Irish lives, this is a welcome revival of Ian Rickson’s stunning production which first played here to rapturous reviews last year. Brian... Read more... |
'Master Harold' ... and the Boys, National Theatre review - timelessly movingWednesday, 02 October 2019
Time has been kind to Athol Fugard's "Master Harold"...and the Boys. It's a stealth bomb of a play that I saw in its world premiere production in New Haven, Connecticut, in 1982 and that has been a regular part of my playgoing life ever since. Yes,... Read more... |
