Theatre
Tom Birchenough
Jacobean playwright John Ford is flavour of the season at the Sam Wanamaker Playhouse. His better-known, and simply better, ‘Tis Pity She’s a Whore, opened the venue’s new programme last autumn and is followed now by that work’s younger sibling, The Broken Heart, in a production that rather gloriously surprises.Director Caroline Steinbeis has talked of the elements of soap opera she found in the play, and overlays the traditional business of revenge tragedy with lashings of humour, moving the action on speedily and taking it briskly around the theatre’s auditorium to boot. It’s an Read more ...
Thomas H. Green
Richard Nelson (b. 1950) is a leading figure in American theatre but also a consistent documentarian of his country’s liberal consciousness. His series of plays about the Apple Family, written between 2010 and 2013, have been critically acclaimed for their portrayal of the upstate New York clan’s gatherings on significant historical days. They are performed for the first time in the UK at the Brighton Festival in May.Nelson’s career, however, began in the mid-Seventies with his profile coming to wider attention the following decade as he worked alongside theatre directors such as Britain’s Read more ...
aleks.sierz
Nowadays, playwrights do their apprenticeships at university, studying drama. But, once upon a time, they had proper jobs before they started making theatre. Such is the case of the late Michael Hastings, who died in 2011 and whose most famous piece is Tom & Viv (about TS Eliot and his wife). Before becoming a playwright, he worked for three years as a tailor's apprentice. The Cutting of the Cloth, written in 1973 and accumulating dust in a bottom drawer ever since, is based on those early work experiences. But is it worth staging?This is a wintry play for a cold nightThe story is set in Read more ...
Marianka Swain
Writing about writers: exploring what you know, or the very definition of stifling egoism? Either way, it can be a terrible trap for the playwright, with craft becoming not just the subject of a work, but its defining feature. Hugh Whitemore narrowly avoids that fate in his unashamedly writerly 1977 piece about poet and novelist Stevie Smith, which is packed to the gills with erudite bon mots, yet, in Christopher Morahan’s leisurely revival, somewhat lacking in dramatic thrust.Whitemore’s play sticks with the most tried-and-tested version of biographical theatre – namely, the semi-narrated Read more ...
Heather Neill
Mustapha Matura's 1974 play is a celebration of liberation, both social and political, and a sly warning about the possible pitfalls of sudden freedom. Mas (or Masquerade) is the Trinidadian version of Carnival, an exotic mixture of Christian and African tradition played out just before Lent. It provides an opportunity to adopt a different persona, to drink to excess and to behave in ways unacceptable at any other time. But Matura's play is set on either side of colonial Trinidad's liberation from Britain in 1962; the acting out of roles and dressing up as policemen and generals takes on a Read more ...
aleks.sierz
As their career progresses, playwrights face a real problem: should they please their fans by writing the same play, over and over again, or should they risk trying out new things? Polymath Philip Ridley has built up a corpus of East End gothic plays, in-yer-face shockers and dystopic visions. But he has also written female monologues and imaginative two-handers about love. His latest one breaks more new ground: it is a comedy, and — unique for this playwright — it is overtly political.Radiant Vermin is about a young couple, Ollie and Jill. They are having their first baby and fantasise about Read more ...
Jenny Gilbert
The critic James Christopher describes his first stage play as a black comedy, and the opening few moments set out the noir element efficiently enough, if not with any discernable humour. Charlie (Ben Porter) has inherited an old Suffolk farmhouse and lets it out to pay the bills. Its one drawback is an indoor well, a health-and-safety hazard (and maybe haunted), which he plans to fill in with cement. It’s an unromantic solution, but Charlie, married for two decades to the pragmatic Susan (Joannah Tincey), is not looking for surprises. He gave up a high-earning job to embrace a quiet life. Read more ...
Marianka Swain
The Langham has marked its 150th anniversary in theatrical fashion by commissioning an original drama spanning several decades – and floors – from emerging company Defibrillator, whose Tennessee Williams trio at this venue impressed last year. Now Ben Ellis checks in with a tailored play that gains substance the further it reaches into the past.The first of Ellis’s three half-hour two-handers is the weakest, offering a tired spin on the needy pop diva. It’s present day – as multiple references to Twitter and Instagram make clear – and imploding singer Jade (Hannah Spearritt), due to make a Read more ...
Demetrios Matheou
Last year the London stage was treated to an electrifying Medea and an intelligent, refreshing Electra, at The National and the Old Vic respectively. Now it’s the turn of the Barbican to unleash the formidable force of Greek tragedy upon us, switching from Euripedes to Sophocles and a heroine who, compared to those others, is a pure-hearted innocent.And how does the production compare? Favourably. In fact, Belgian director Ivo van Hove has offered a modern-dress interpretation as thrilling as his take on Miller’s A View From The Bridge, currently playing across town. It’s elegantly staged, Read more ...
Polly Teale
As a child I was bewitched by the tale of The Little Mermaid. I had it on a record and would play it and sit and sob on the settee, much to the bewilderment of my brothers. It wasn’t until years later that I found myself wondering what it was about this dark coming of age story, about a mermaid who had her tongue cut out, that spoke to me so powerfully. Rereading the story years later I realise that the story is about the experience of puberty and the self-consciousness that comes with it, a sort of loss of self.The mermaids live beneath the ocean in a state of unselfconscious freedom until Read more ...
aleks.sierz
This venue is one of the coolest in London — and its regular audience is both trendy and well-heeled. In the foyer, you get jostled by a better class of person. For this immersive show, written by the prolific and ever-inventive Mike Bartlett, the audience arrives and, after getting its tickets, is divided into four groups: A, B, C and D. Each group is then summoned by tannoy to enter the theatre though a different entrance. Yes, this is not a theatre show — it is a game show.Once inside, we are each given a set of headphones and seated on benches, which are arranged on the four sides of a Read more ...
David Nice
How can a feisty village dame duetting “lackaday”s with the mounted head of a long-lost, nay, long-dead love be so deuced affecting? Ascribe it partly to the carefully-applied sentiment of Gilbert and Sullivan, slipping in a very singular 11-o’clock number after so much Gothick spoofery, partly to two consummate and subtle singing actors, Amy J Payne and John Savournin, in a production of spare ingenuity by the latter, true Renaissance/Victorian man equally at home in opera and operetta.Savournin also makes a virtue out of the necessity of a nine-strong cast guided by a brilliant pianist – Read more ...