thu 17/05/2012

theatre reviews, news & interviews

Globe to Globe: Henry IV, Parts 1 and 2, Shakespeare's Globe

Carmel Doohan

The two parts of Henry IV parts 1 and 2 are very macho plays. Men drink, tell rude jokes, strut and lie their way into power and influence. In Globe to Globe's Latin American takes on the Bard, some hijo de puta and de puta madre seem fitting additions. In these two productions, machismo, in the style of the gangster or the swagger of the outlaw, was never in short supply. There were also many opportunities for cultural stereotypes to be referenced: the idea that gossips and chantas rule the...

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Detroit, National Theatre

David Benedict

The competition for best dramatic use of a coffee table is won hands down by the wagon-wheel one that prompts a major argument in When Harry Met Sally. Runner-up is the one that appears in Detroit. So deliciously hideous that it gets its own laugh, the symbolic table from Ben and Mary’s nice suburban home is given to new neighbours Sharon and Kenny whose total lack of furniture stems from the fact that they only recently met during a spell in major substance-abuse rehab. Their back yards may...

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Globe to Globe: Henry VI, Parts 1, 2 and 3,...

Igor Toronyi-Lalic

There was always going to be one Borat moment in this festival. And it came courtesy of the Albanians, who, for comic effect, in the middle of their...

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Little Dogs, National Theatre Wales/Frantic...

Dylan Moore

Ever since the Polish photographer Maciej Dakowicz documented the debauchery of South Wales nightlife in a series called Cardiff at Night, there has...

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Brighton Festival 2012: Interiors, Motor Show,...

Bella Todd

From theatre viewed through peepholes and camera obscuras to a dance piece you watch across a wasteland while wearing headphones, this year the...

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Globe to Globe: The Two Gentlemen of Verona, Shakespeare's Globe

Jasper Rees

Two Zimbabweans people Shakespeare's Italy with a few props and a lot of comedic skill

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Street of Dreams, Manchester Arena

Philip Radcliffe

Well-intentioned celebration of Coronation Street is strictly for devotees

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Globe to Globe: Macbeth, Shakespeare's Globe

Peter Culshaw

A druggy punk Polish version of the Scottish Play with transvestite witches wows the Globe

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Top Hat, Aldwych Theatre

Ismene Brown

Even when money's tight, isn't it a lovely day to be caught in an Irving Berlin musical?

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Three Kingdoms, Lyric Hammersmith

Aleks Sierz

Simon Stephens’s new play has vivid moments but finally fails to satisfy

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Globe to Globe: The Tempest, Shakespeare's Globe

Peter Culshaw

Post-colonial high-energy singing and dancing for the Bard's last play

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Globe to Globe: Titus Andronicus, Shakespeare's Globe

Josh Spero

The Cantonese take on internecine Roman slaughter

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Brighton Festival 2012: Vanessa Redgrave, The Rest Is Silence, Hangover Square

Bella Todd

England's most important and eclectic arts festival gets underway

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Globe to Globe: Othello, Shakespeare's Globe

Joe Muggs

Put up yo bright sword: hip-hop Moorish general tells of the anthropophagi in the language of da street

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Carousel, Opera North

Graham Rickson

The greatest of musicals? Jo Davies's production makes a convincing case

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Globe to Globe: Richard II, Shakespeare's Globe

Fisun Güner

A play whose relevance to now is expressed with eloquence and brio

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Help! Are you a John or a Paul?

Jasper Rees

Open auditions for a show timed for the 50th anniversary of the Beatles' first single

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Footnote: a brief history of British theatre

London theatre is the oldest and most famous theatreland in the world, with more than 100 theatres offering shows ranging from new plays in the subsidised venues such as the National Theatre and Royal Court to mass popular hits such as The Lion King in the West End and influential experimental crucibles like the Bush and Almeida theatres. There's much cross-fertilisation with Broadway, with London productions transferring to New York, and leading Hollywood film actors coming to the West End to star in live theatre. In regional British theatre, the creative energy of theatres like Alan Ayckbourn's Stephen Joseph Theatre, Scarborough, the Bristol Old Vic and the Sheffield theatre hub add to the richness of the landscape, while the many town theatres host circling tours of popular farces, crime theatre and musicals.

lion_kingThe first permanent theatre, the Red Lion, was built in Queen Elizabeth I's time, in 1576 in Shoreditch; Shakespeare spent 20 years in London with the Lord Chamberlain's Men, mainly performing at The Theatre, also in Shoreditch. A century later under the merry Charles II the first "West End" theatre was built on what is now Theatre Royal Drury Lane, and Restoration theatre evolved with a strong injection of political wit from Irish playwrights Oliver Goldsmith and Richard Brinsley Sheridan. Catering for more populist tastes, Sadler's Wells theatre went up in 1765, and a lively mix of drama, comedy and working-class music-hall ensued. But by the mid-19th century London theatre was deplored for its low taste, its burlesque productions unfavourably contrasted with the aristocratic French theatre. Calls for a national theatre to do justice to Shakespeare resulted in the first "Shakespeare Memorial" theatre built in Stratford in 1879.

The Forties and Fifties saw a golden age of classic theatre, with Sir Laurence Olivier, Sir Ralph Richardson and Sir John Gielgud starring in world-acclaimed productions in the Old Vic company, and new British plays by Harold Pinter, John Osborne, Beckett and others erupting at the English Stage Company in the Royal Court. This momentum led in 1961 to the establishing of the Royal Shakespeare Company in Stratford, and in 1963 the launch of the National Theatre at The Old Vic, led by Olivier. In the late Sixties Britain broke the American stranglehold on large-scale modern musicals when Andrew Lloyd Webber and Tim Rice launched their brilliant careers with first Joseph and the Amazing Technicolor Dreamcoat and then Jesus Christ Superstar in 1970, and never looked back. The British modern original musical tradition led on to Les Misérables, The Lion King and most recently Matilda.

The Arts Desk brings you the fastest overnight reviews and ticket booking links for last night's openings, as well as the most thoughtful close-up interviews with major creative figures, actors and playwrights. Our critics include Matt Wolf, Aleks Sierz, Alexandra Coghlan, Veronica Lee, Sam Marlowe, Hilary Whitney and James Woodall.

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