mon 21/05/2012

theatre reviews, news & interviews

Globe to Globe: Romeo and Juliet, Shakespeare's Globe

Fisun Güner

The Globe to Globe season has enjoyed tremendous goodwill from audiences and critics alike. And this has been largely repaid, for it’s been a joy and a wonder to learn just how much contemporary relevance can be mined and brought into sharp relief, and with such audacious wit, when stripped of the plays’ native tongue. So one wishes one could keep up the momentum of goodwill for every production.And why not? If one can be convinced by a South Sudanese production of Cymbeline and an Armenian...

Read more...

Globe to Globe: King Lear, Shakespeare's Globe

Josh Spero

Like a post-Soviet Oedipal X-Factor, the Belarus Free Theatre on Friday night gave one of the greatest productions of King Lear London has ever seen. Forget our local Lears, with naked theatrical knights and casts in emotional straitjackets: this was as cruel, as beautiful, as you could want. It shook the Globe from the yard to the rafters.Part of Globe to Globe, it is a poignant play for a company of dissidents. Lear (Aleh Sidorchik) wore a radiant gauntlet, which he broke Cordelia’s nose with...

Read more...

Globe to Globe: King John, Shakespeare's...

Tom Birchenough

You might have wondered if, when Armenia was offered King John as part of the Globe to Globe season, they felt they’d drawn the short straw. Not a...

Read more...

What the Butler Saw, Vaudeville Theatre

Matt Wolf

Clothes are shed, sensibilities skewered and political correctness defiantly ignored in this latest London revival of Joe Orton's wonderful play (the...

Read more...

The Sunshine Boys, Savoy Theatre

Bruce Dessau

Being in a comedy double act is like being in a marriage. Except, as half of a humorous twosome once told me, with less sex. There are ups and downs...

Read more...

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

Carmel Doohan

Prince Hal and Falstaff given a macho Latin twist from Argentina and Mexico

Read more...

Detroit, National Theatre

David Benedict

Lisa D'Amour's lament for community set in American suburbia crackles then preaches

Read more...

Globe to Globe: Henry VI, Parts 1, 2 and 3, Shakespeare's Globe

Igor Toronyi-Lalic

A slick Serb Part 1, an effective Macedonian Part 3 and a very very Albanian Albanian Part 2

Read more...

Little Dogs, National Theatre Wales/Frantic Assembly

Dylan Moore

Warts-and-all snapshot of Swansea nightlife is a feast of the senses lacking a beefy script

Read more...

Brighton Festival 2012: Interiors, Motor Show, Land's End

Bella Todd

Vanessa Redgrave tells the story of an Arab woman. Elsewhere it's all about voyeurism

Read more...

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

Read more...

Street of Dreams, Manchester Arena

Philip Radcliffe

Well-intentioned celebration of Coronation Street is strictly for devotees

Read more...

Globe to Globe: Macbeth, Shakespeare's Globe

Peter Culshaw

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

Read more...

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?

Read more...

Three Kingdoms, Lyric Hammersmith

Aleks Sierz

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

Read more...

Globe to Globe: The Tempest, Shakespeare's Globe

Peter Culshaw

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

Read more...

Globe to Globe: Titus Andronicus, Shakespeare's Globe

Josh Spero

The Cantonese take on internecine Roman slaughter

Read more...

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.

Close Footnote

Free Newsletter

Get a weekly digest of our critical highlights in your inbox each Thursday - free!

Simply enter your email address in the box below

View previous newsletters

latest in today

Cannes 2012: Festival falls in love with Love

Michael Haneke is in surprisingly tender mode, while Peter Doherty joins th...

Royal Concertgebouw Orchestra, Haitink, Barbican H...

The visiting Dutch deliver a Bruckner Five more about elucidation than awe

Robin Gibb, 1949–2012

Farewell to the distinctive Bee Gee and songwriter, who has died at the age...

theartsdesk in Leeds: OverWorlds & UnderWorlds

Brass bands and a childrens' choir lead us into the darkness

The Cunning Little Vixen, Glyndebourne Festival Op...

Meeting of animal and human worlds has the right earthiness in Melly Still...

Globe to Globe: Romeo and Juliet, Shakespeare...

A tragedy that's played strictly for laughs simply ends up being dull