new writing
Helen Hawkins
Do you happily binge four hours of mind-candy TV in one sitting? Alecky Blythe’s latest verbatim play, Our Generation – which runs for 3hr 45min at the Dorfman space of the National Theatre – might take almost as long but will probably be much more rewarding.Blythe made her name in 2011 with the excellent London Road, another NT production (staged by its current artistic director, Rufus Norris and subsequently filmed), which used as its script statements by people involved in events in Ipswich while a serial killer was on the loose. Most of the actors’ words were sung to simple tunes, almost Read more ...
Laura de Lisle
Steven (David Ames) is having a birthday party. He’s invited his closest friends – two of whom have recently started dating their personal trainer, Steve – and his partner, of course: Stephen (Joe Aaron Reid). Their eight-year-old son, Stevie, is being babysat by his grandma. Even the handsome Argentine waiter (Nico Conde) is called Esteban.As homages to Stephen Sondheim go, Steve, a play by Mark Gerrard previously seen Off Broadway and now inaugurating the Seven Dials Playhouse, is pretty obvious.Andrew Keates’ direction and Lee Newby’s set design make great use of the theatre Read more ...
Tim Walker
The divide between theatre critics and the theatrical profession has always been a chasm, but occasionally a wire has been thrown between the two and plucky or foolhardy individuals have attempted to traverse it. A three-times-unsuccessful applicant to the Royal Academy of Dramatic Art in my teens, I managed to turn actor in middle age in Top Hat and Spamalot in the West End. These were, however, merely stunts dreamt up by producers to promote their shows and my performances were unstartlingly overlooked in the Olivier Awards. Now I am on the tightrope once again as I make my Read more ...
Laura de Lisle
“You could read at home,” says Bettina (Anoushka Chadha), Year 10, her school uniform perfectly pressed, hair neatly styled. “You could be an annoying little shit at home,” retorts her sister Asha (Safiyya Ingar), Year 13, all fire and fury in Doc Martens and rainbow headphones. Two Billion Beats, Sonali Bhattacharyya’s new play for the Orange Tree, draws us in with snappy lines and raucous energy before delivering an emotional wallop.Asha is waiting to go home until their mum has left for work so she doesn’t have to talk about her history essay. She got 85%, but her mum only cares about the Read more ...
Helen Hawkins
Carey Crim’s 2017 play arrives from the US at north London's Park Theatre trailing a feminist playwriting award for its dissection of what happens when a smart college senior raised by two women starts to question her parentage. Eleanor wants to know who her biological father was and to this end has employed a private investigator. Her mother Allison is aghast. What will Eleanor do if what she unearths about her father is not what she hopes for, and indeed is abhorrent to her?Cracks begin to appear almost immediately in (Caucasian) Allison’s relationship with her long-term partner Nadine, an Read more ...
Gary Naylor
Somewhere in the world right now, one can hear Mister Mister's AOR hit, "Broken Wings" on an MOR radio station, capturing mid-Eighties synth pop perfectly. Few listeners will know that its inspiration is a 1912 autobiographical novel by Lebanese-American poet, Kahlil Gibran. A source that worked for a four-minute pop song has now been extended by two hours and made into a West End musical. Stranger ideas have worked – unfortunately, this one doesn't.Having fled Beirut as a child with his mother and siblings when his father was imprisoned, 18 year-old Gibran returns from America at the Read more ...
Helen Hawkins
If Florian Zeller isn’t a Wordle fan, I’d be very surprised. As with the hit online game, the French playwright likes to offer up a puzzle for the audience to solve, clue by clue, before the curtain falls. His latest play, The Forest, which had its world premiere at the Hampstead Theatre in an unusual move for this writer, is his most purely puzzle-like yet, and also his least rewarding. Whereas Zeller’s standout play, 2012’s The Father (a double Oscar-winner in its screen adaptation last year), wrung poignancy from its theatrical tricks at every turn, his shtick here is all trick: Read more ...
Laura de Lisle
“If you want romance,” the cast of Emma Rice’s new version of Wuthering Heights say in unison just after the interval, “go to Cornwall.” They’re using the modern definition of romance, of course – Emily Brontë’s novel is full of the original meaning of "romantic", much wilder and more dangerous than anything Ross Poldark gets up to.Rice’s anarchic adaptation preserves that feral quality, with the Moor itself telling the doomed love story of Cathy (Lucy McCormick) and Heathcliff (Ash Hunter), but doesn’t do enough to keep up its energy.The opening is more Kafkaesque than Brontësque (though Read more ...
Laura de Lisle
Conundrum is a tricky play. Written and directed by Paul Anthony Morris, founder of Crying in the Wilderness Productions, it’s an extended meditation on Blackness and what it means to live in a racist society. Anthony Ofoegbu is the star of the show, but his mesmerising performance isn’t enough to make sense out of Morris’s inscrutable script.Fidel (Ofoegbu, pictured below) is decluttering, shredding documents he doesn’t need anymore. He stumbles across a page of biology notes, and starts testing himself on parts of the body: hypothalamus, oesophagus, carotid canal. He scrawls the words in Read more ...
Helen Hawkins
Cecil Sharp, heritage hero or imperialist appropriator? If you attended school in the first half of the 20th century, you would have sung from his collections of English folk songs, and probably gritted your teeth and performed the country dances he recorded, too. Not far from the Hampstead Theatre, where Nell Leyshon’s play about him, Folk, has premiered in the Downstairs studio space, there is a world-renowned centre named for him and dedicated to the English folk traditions he helped salvage.Or did he? Sharp’s legacy has divided academic opinion since the 1980s, attracting complaints that Read more ...
Matt Wolf
There was no live theatre at the start of 2021, just a return to the world of virtual performance and streaming to which we had become well accustomed, and very quickly, too. So imagine the collective surprise come the start of this month as show after show, venue after venue, ceased performance or curtailed operations, however temporarily. Hex, Force Majeure and Moulin Rouge were three prominent end-of-year openings to push their press nights into 2022, a year shrouded as I write this by Omicron-prompted uncertainty. All one can do, and hardly for the first time these days, is hope that Read more ...
Laura de Lisle
Zadie Smith might not be the only writer who can rhyme "tandem" with "galdem", but she’s the only one who can do it in an adaptation of Chaucer. In The Wife of Willesden, her debut play, a modern version of one of the Canterbury Tales, Smith’s talent for mixing high and low is at full power.Indhu Rubasingham’s staging at the Kiln Theatre rattles along with warmth, wit, and a whole lot of heart. The premise is a little flimsy, but forgivably so. Brent has been voted London’s Borough of Culture, and the landlady of the Sir Colin Campbell has organised an open mic night to celebrate. A Read more ...