Theatre
Steve Clarkson
The best bit is the Wagon Wheels. Frisbeed, they are, towards the audience's outstretched arms and expectant faces, with the precision of a man who's been doing it for the past 35 years, with the assurance of a cult hero whose presence continues to dominate the York pantomime tradition.They love Berwick Kaler here (seriously, how many local celebrities have ice sculptures of themselves admired in their city centre?) and the affection is mutual. "This isn't a pantomime, it's a family reunion!" declared the writer, co-director and indisputable star of Aladdin and the Twankeys, which is, Read more ...
alexandra.coghlan
Unlikely subjects can make for great musicals. (Assassins, anyone?). Just as great subjects can make for terrible ones (the Broadway Breakfast at Tiffany’s comes to mind). Sadly Andrew Lloyd Webber’s latest project can’t redeem itself on either count. An awkward story allied with a treatment that veers from unexciting to embarrassingly bad, the only marvel here is how it ever made it past the workshop stage. I would have hated Stephen Ward if I hadn’t been so numbed by boredom that I couldn’t muster emotion even approaching that intensity.The internet has been rife with chatter over the Read more ...
Heather Neill
Rhys Ifans enters as a rough sleeper who has wandered in off the street, his sleeping bag over his shoulders, beany hat pulled low over unwashed hair, muttering to himself. For a moment he's hardly noticed by the audience, ignored as such people often are, but then he launches into Tim Price's monologue. He is Danny, an alcoholic. He had been sleeping on the steps of St Paul's for seven years when his routine was disrupted in 2011 by the Occupy Movement's arrival, the establishment of the tent city and their subsequent stand-off with cathedral authorities. It's a neat reversal of the old Read more ...
Ismene Brown
In his later life Shakespeare, who never ducked ways to define a hero, offered the public a challenge: Coriolanus is a professional warrior, deaf to reason, patrician hater of people power. To beat all, this man’s man’s a mother’s boy. In a world trying to be newborn in democracy and a big society, Coriolanus sticks out like a sore thumb.The play’s action is hectic, wracked by war and famine, and the shining simplicities of the sword contrast with the writhing difficulties of words to fashion slow consensus and agreements between people of sharply different motives. Josie Rourke’s production Read more ...
Tom Birchenough
There’s cruel comedy and human drama aplenty in Fortune’s Fool, so much so that it’s hard sometimes to know whether we’re watching farce or tragedy. But it’s a mixture that works well in Lucy Bailey’s production of Ivan Turgenev’s early play in this version by Mike Poulton, making its London debut at the Old Vic.Fortune’s Fool has a rather special history behind it. Poulton’s adaptation of Turgenev’s 1848 work was first seen in Chichester in 1996, to mixed critical reception. Thanks to Alan Bates, who had played the central role of the tragic Russian country estate hanger-on, Vasily Kuzovkin Read more ...
Jasper Rees
Nelson Mandela had a nose for the dramatic gesture. The evidence is there in his speech at the Rivonia Trial in 1964, in his symbolic walk to freedom as he emerged on foot from captivity in 1990, his astute performance at the Rugby World Cup in 1995 and then finally in death, announced just as an epic new film of his life was being premiered in London, the seat of the old colonial power.Mandela: Long Walk to Freedom, which opens in early January, is by no means the first film to feature Mandela. Hollywood has co-opted him, as has television in South Africa, Britain, America and, first of all Read more ...
Demetrios Matheou
Richard II arrives in London after a highly successful Stratford run and while the glow of David Tennant’s Hamlet resides still in the memory. Surprisingly, the pleasure of the production lies not so much in dazzle as solidity. This doesn’t give a bold new reading but a robust interpretation; it is not a star vehicle (so often with the star surrounded by mediocre support) but one of the strongest company performances of Shakespeare that I’ve seen for many a year.Though Richard II can easily be seen as a stand-alone play, it’s actually the first of a tetralogy that includes the Henry IVs and Read more ...
Matt Wolf
Among the multiple achievements of American Psycho, any one of which might be enough to make Rupert Goold's long-awaited Almeida season-opener the banner musical of a notably busy year for the form, a particular paradox deserves mention up front. Here's a piece steeped in material (the Bret Easton Ellis novel from 1991 and its film version nine years later) that fetishises surfaces and wallows in emptiness and that - a grand hurrah! - turns out itself to have a lot to say.I had feared in advance that the show might devolve into a blank celebration of late-Eighties blankness as per the book Read more ...
kate.bassett
This political satire is hardly a case of rapid-response playwriting. Opening in London's West End last night, after a month touring the regions,The Duck House is a farce about a fictional MP caught up in the parliamentary expenses scandal which hit the headlines way back in 2009. One certainly might have expected Dan Patterson (of TV’s topical Mock the Week) and Colin Swash (from Have I Got New for You) to have been swifter out of the blocks in co-authoring the script. Or have they just belatedly extracted it from their bottom drawer (adding a prologue wherein the MP looks back on the Read more ...
Caroline Crampton
"My mum was given this new wonder-drug for morning sickness when she was pregnant with me," explains Mat Fraser at the start of Beauty and the Beast. "It was called Thalidomide. That's why I was born with arms like this."This is the simple, straightforward opening to a show that is anything but. Husband-and-wife team Julie Atlas Muz and Mat Fraser have devised something here that is part fairytale, part puppet show, part cabaret and part burlesque – with a fair amount of wry comedy thrown in for good measure.It ostensibly follows the well-known tale of Beauty and the Beast, with Muz ( Read more ...
aleks.sierz
The Partition of India and Pakistan in 1947 is one of those epoch-making events that are so huge as to be almost beyond our comprehension. It affected the lives of literally millions of people. And has a resonance today. To understand this cataclysmic event, you feel, will require six hours of documentary, a two-month mini-series or a novel of at least 600 pages. Yet here is Howard Brenton’s new play, which opened last night, and it tells the story in one quick evening.Brenton achieves this compression by focusing on a small tale at the heart of the larger epic. While the big names – Read more ...
kate.bassett
We first see the bank clerk, who can’t bear his dull life, serving behind the cashier's till, like an automaton. In Melly Still's hugely inventive, visually stunning multimedia production of From Morning to Midnight – Georg Kaiser's fearlessly weird German Expressionist drama from 1912 – Adam Godley's Clerk starts out as a desiccated nonentity, nose to the grindstone.A huge, ticking clock hangs above him, cogs whirring, bells chiming. Shrill whistles blow as customers whirl in and out through brass turnstiles. Godley remains stiff as a corpse, except for his hands darting out to Read more ...