West End
judith.flanders
Even in London’s variegated show-world, something called Cabaret Falafel stands out as an exotic title. To discover that it will take place in a delicatessen, performed by the wonderful Henry Goodman, makes it both more piquant and more explicable, for Gaby’s Deli, a stalwart part of Charing Cross Road and of every London theatre-goer's map of the West End, is under threat.Charing Cross Road has already lost most of its independent bookshops; Chinatown has been trampled on by developers who want to root out the Chinese markets; now the Marquess of Salisbury, ground landlord to Gaby’s, has in Read more ...
Ismene Brown
The title is a warning, as is the cheesy grinning poster - this is going to be Fun with a capital F, and Feel-good too, and Family Friendly. And it is going to clean up hip hop’s badass image. I was already prejudiced against it before I sat down.Most of the best hip hop I’ve seen has been feel-bad, because anger and frustration is where all that ferocious physical articulacy, that satirical and defiant jousting with balance and tempo, comes from, and I haven’t fully bought into Kate Prince’s ZooNation and her team of dancers who always tend to look as if they're on children's telly. This new Read more ...
aleks.sierz
At the newly renamed Harold Pinter Theatre (formerly the Comedy), the inaugural show is a special tribute to the Nobel Prize-winning playwright, who died in 2008. The subject matter of Ariel Dorfman’s play, which won an Olivier Award on its first outing in 1991, is a powerful reminder that Pinter was a human rights activist. He was also a friend of Dorfman so this revival, which stars Thandie Newton and opened last night, is an inspired choice of production.Dorfman, who was born in Argentina and grew up in Chile, wrote a university thesis on the plays of Pinter, so when he created this play Read more ...
aleks.sierz
John Osborne was the great founding father of contemporary new writing for the theatre. In 1956, his Look Back in Anger changed British drama for ever, and his subsequent work explored the subjects of failure and national identity in language that is both highly rhetorical and at the same time feels as if it is torn from the gut. His 1964 play about the washed-up London solicitor Bill Maitland, which opened last night in Jamie Lloyd’s revival, is one of his masterpieces.The story shows the mental disintegration of the middle-aged Maitland during two days of personal and professional hell. It Read more ...
sheila.johnston
So it's back, then. Garlanded with awards, lionised in London and on Broadway, Jerusalem starring Mark Rylance returns to the West End for a limited run, in the same production and with many members of the earlier cast(s). Is this an opportunistic, irrelevant, premature revival? On the contrary.First produced at the Royal Court in 2009, the new Jerusalem appears to have been lightly dusted with a top-dressing of topical references but, in an England that's even greyer and more unpleasant than it was two years ago, the play barely needs touching up to retain its urgency.There's a big, bawdy Read more ...
Peter Culshaw
We know (we have the analytics) that quite a few TAD readers are not averse to a bit of arty burlesque – our candid interview with striptease artist Ursula Martinez was read by many thousands. The latest contenders in the burgeoning titillation-as-art scene are Cabaret New Burlesque who finished a three night run last night at the Charing Cross Theatre in London (it will be back, they promise).They are a bunch of Americans of impressively varied sizes and shapes who made it in Paris, home of the art of the stripper. Their struggle to succeed was documented in Mathieu Read more ...
fisun.guner
Is there something remarkable about a group of working-class men learning to paint? You may think there is, or you may think there isn’t. You may think that anyone with very little formal education learning to do any of the things associated with High Art – even if the results are quite naïve – is, in itself, astonishing. Or you may not: give someone a brush, paints and a board and, your clear-eyed reasoning might tell you, either genuine talent emerges or it doesn’t. You may find yourself also wondering: is it a peculiar habit of English sentimentality to find the type of story embodied by Read more ...
Kieron Tyler
It’s obviously a coincidence. Backbeat, the story of The Beatles’ Hamburg days, their ill-fated bassist and John Lennon's art-school mate Stuart Sutcliffe hits the West End the same week that Martin Scorsese's George Harrison documentary Living in the Material World comes out. Even ignoring comparisons between the two, Backbeat is an incoherent mess.Sutcliffe’s story has become a perennial, not limited to Beatle book shelves. Granada TV’s Midnight Angel covered it in 1990. The BBC’s Stuart Sutcliffe - The Lost Beatle did so in 2005. The film Backbeat came out in 1994. It was directed by Iain Read more ...
David Benedict
You can accuse Alfred Uhry's 1987 play Driving Miss Daisy of many things – being overtly sentimental is top of the charge sheet – but you certainly cannot claim that it’s a case of false advertising. Even if, like this critic, you missed the original stage version or any of its revivals, not to mention the Oscar-winning movie, it’s painfully clear from the opening scene in which the heroine is forced to hire a chauffeur that this is not just precisely but wholly a play about Miss Daisy being driven. With the, excuse me, Rolls-Royce casting of Vanessa Redgrave and James Earl Jones, it Read more ...
Matt Wolf
The human spirit won't be easily vanquished, or so we're led to believe from Cool Hand Luke, which in itself should provide succour to those trapped at this stage adaptation of the novel that inspired the movie - still with me? - in the days and weeks to come. Marc Warren works hard in the role of the famously fettered Luke Jackson that brought Paul Newman a 1967 Oscar nod, and the Hustle star deserves credit first off for getting his American accent down pat.But as adapted by Emma Reeves from the 1965 book from Donn Pearce, who co-authored the film (and was himself put up for an Oscar), the Read more ...
aleks.sierz
Arthur Miller is one of those geniuses whose plays are metaphor-rich even when their storytelling is slow. First staged in 1994, Broken Glass is surely his best late-period drama, and this revival, directed by Iqbal Khan, arrives in the West End after originally opening at the Tricycle Theatre last year. This time, the ever-watchable Tara Fitzgerald joins Antony Sher in the cast.Set in Brooklyn in 1938, the play is like a case history from a cabinet in Sigmund Freud’s practice. A middle-aged woman, Sylvia Gellburg, suffers from a sudden and mysterious paralysis of her legs. She is confined to Read more ...