Theatre
Veronica Lee
Conor McPherson’s 1997 play has become a modern classic, and it's not difficult to see why. It's a glorious evening of storytelling that allows the cast to display their wares, as the conversation between characters who have known each other all their lives flows and ebbs as they reminisce, josh and cajole each other with both affection and darker, underlying feelings. Such naturalistic conversation is, strangely enough, often hard to present with authenticity, but when it's done well - as it is here - one forgets this is acting. We could be eavesdropping on real people chatting.We are in Read more ...
Jasper Rees
Knock knock. Who's there? Eamonn. Eamonn who? Eamonn Etonian. There's an Eamonn at No 10, an Eamonn is Mayor of London, an Eamonn is even Archbishop of Canterbury. Oh, and Eamonns are third and - for three more months - fourth in line to the throne. Recently Eton has started to dominate British film, television and theatre. In 2012 one Eamonn won an Emmy, another was given a Bafta and a third played a Shakespearean king on the BBC. It’s true that a remarkably talented group of actors from Eton have risen like the richest cream to the top in recent years. They are led by Damian Lewis, Read more ...
Gary Raymond
The play is the thing, to quote one famous bereaved theatrical son, and in this new collaboration between Theatr Genedlaethol Cymru, artist Marc Rees and playwright Roger Williams, it is most definitely the thing. A Welsh-language multi-media promenade production that takes as its themes the erosion of the traditions of agricultural communities, Tir Sir Gâr is a complex balancing act between fact and fiction, and between emotional, involving drama and cold introspective installation art. The balance is delicate, sometimes successful and sometimes not.Granted, the story would not be enough on Read more ...
Sam Marlowe
It’s apt that a drama set among soldiers should be presented with military precision; but corruption, cruelty and perversion can lurk amid the human innards of the machine of war, and in Nicholas Hytner’s well-oiled, impeccably paced production of Shakespeare’s tragedy, the chainlink and concrete of an army base house scenes of cruel humiliation.Hytner's inaugural 2003 season as artistic director of the National included his staging of Henry V, coinciding with the Iraq War and starring Adrian Lester. Now Lester takes on the titular Moor, opposite Rory Kinnear, whom Hytner directed as Hamlet Read more ...
Sebastian Scotney
Orpheus, set in an imaginary Paris in the 1930s, delivers an unashamedly escapist and a quite delightful evening's entertainment. The Orpheus myth is often a pretext for fantasy or fun. Maybe the original, tragic tale is just too unremittingly dark and poignant. But while Offenbach, for example, camped and cancanned it up, and Cocteau found poetry in his vintage cars and his motorbikes, the Little Bulb company's twist on the story – in a co-production with Battersea Arts Centre - has been to make Orpheus into a suave guitarist - Django Reinhardt (Dominic Conway) - and Eurydice (doubling as Read more ...
alexandra.coghlan
Although overwhelmingly remembered now as a novelist, Somerset Maugham was best known during his lifetime as a playwright. “England’s Dramatist”, as the newspapers christened him, produced more than 20 plays spanning the length of his career, outdoing contemporaries Shaw and Rattigan for popular and critical success. But his was not an enduring fame, and with his work now strikingly absent from the theatrical repertoire, any revival must inevitably face the suspicious question: why?Romping its way through questions of “love, beauty and the economic situation” (with a few theatrical detours to Read more ...
Sam Marlowe
A severed toe, a shotgun, copious blood, vomit and snot, and a live snake. Sprinkle them liberally with Shake’n’Vac masquerading as cocaine, douse in booze, piss and petrol, set the whole lot alight and you have something of the loud, lurid volatility of this drama by the Scots writer Simon Donald.First seen at Edinburgh’s Traverse Theatre, it transferred to the Donmar Warehouse in 1993 in a production by Matthew Warchus, garnering its author that year’s Evening Standard award for Most Promising Playwright. A forerunner of what came to be known as the In-Yer-Face wave of drama Read more ...
Tom Birchenough
The new South Bank Show has glided into its second season with a seemingly effortless profile of multi-hyphenate Tim Minchin. In case we’ve forgotten what exactly we admire him for these days – so varied has been his decade-long career been, through satire, rock, musical comedy, stage performance, to co-creator of the RSC transfer-spectacular Matilda that's now storming Broadway – then this was a good reminder.Self-deprecation may be one of his fortes (not that he doesn’t excel at deprecating others), but Minchin proved a thoughtful guide to his achievements to date, in that beguilingly Read more ...
aleks.sierz
Scandi thrillers have a lot to answer for. Ever since the small-screen success of the Swedish Wallander series, based on the books by Henning Mankell, there has been a host of other must-sees — including the brilliant Borgen — plus British imitations such as Kenneth Branagh’s Wallander. Not to mention various outings of The Killing and its local progeny such as Broadchurch. Now the Swedish actor who best embodied Wallander makes his West End debut in this Swedish-language drama.So, welcome to London Krister Hendriksson. He stars as Doktor Tyko Glas in this stage adaptation of Hjalmar Read more ...
Heather Neill
During rehearsals of his new play, Howard Brenton and the company had a sudden realisation: they were willing partners in "the vast Ai Weiwei project". The Chinese dissident artist, a constant critic of his country's human rights policies, was arrested on his way to Hong Kong in 2011 because his travel would "damage state security" and detained for 81 days. Now he requested that this story be told in a play to be based on interviews he had given to the journalist Barnaby Martin. One of the conditions for his release had been that he should not speak to foreign journalists. And here he was Read more ...
aleks.sierz
Some plays are game-changers. When Jonathan Harvey’s Beautiful Thing opened at the tiny Bush Theatre in 1993 the joy that radiated off the stage was ample affirmation that this tale of puppy love had changed the face of gay plays for ever. Gone was dreary soul searching; gone was guilt; gone was militancy. Instead, we got fun, laughter and real heart.Then came the culture clash. When, the following year, the play transferred to the West End, along with Kevin Elyot’s My Night with Reg, the London Evening Standard inveighed against the corrupting “plague of pink plays”. Two plays — some plague Read more ...
David Benedict
They’re back, and this time it’s Gorky. Dream team director Howard Davies, translator Andrew Upton, designer Bunny Christie and lighting designer Neil Austin have repeatedly attached tragicomic jump-leads to the unfamiliar (Bulgakov’s The White Guard) and the well-worn (The Cherry Orchard) to explode the myth encapsulated by Ira Gershwin’s lyric: “I’ve found more clouds of grey/Than any Russian play could guarantee.” But despite the welcome return of their vision and some juicy performances, it’s increasingly obvious why they didn’t stage Children of the Sun before now.With a lobby opening on Read more ...