Theatre
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 ...
tanika.gupta
It was over four years ago that I was commissioned by Michael Boyd, then artistic director of the RSC, to write a play which I had vaguely pitched to him as “a costume drama set in the nineteenth century with Asians running around in it”. And here we are, finally, about to open an epic and ambitious play set over the last 14 years of Queen Victoria’s reign. My initial inspiration came from an old black and white photograph taken in an ayah’s home in Aldgate in the 19th century. The picture of a group of Asian women sat around a table sewing and reading, wearing saris and Victorian dress Read more ...
Mark Kidel
In spite of a text that feels at times like Shakespeare by numbers, Andrew Hilton’s tightly-knit company has once again pulled off an evening of captivating theatre. As in other productions from Shakespeare at the Tobacco Factory, the casting is pitch-perfect and the acting first class, down to the star performance of a hilariously mournful black dog.Two Gentlemen of Verona is an early piece, and although there are plenty of the touches of the genius that will illuminate the bard’s greatest plays, this tale of love, friendship, inconstancy and betrayal is almost too smoothly constructed. The Read more ...
David Nice
Or, The Lord and Lady Macbeth of the Seizième, as imagined by a bourgeois teenager who fancies himself to be Bougrelas, heir to the Polish throne. That's one way of looking at the concept so dazzlingly carried through by Declan Donnellan and Nick Ormerod with the French wing of their Cheek by Jowl Company. It’s a chaotic tale told by a big kid, as the 23 year old Alfred Jarry still was when he part-engineered a scandal for the 1896 Paris premiere of Ubu Roi, a platform at last for the savage, potty-mouthed and pot-bellied anti-hero Jarry had dreamed up years earlier in revenge against a Read more ...
aleks.sierz
The family can be a knot of hatred as well as a cradle of love. Rather late in this new play by Tanya Ronder comes a scene in which a separated husband and wife try to untangle this knot, and end up by tightening it. And this takes place around a table, which is silent witness to this epic tale which spans more than a century, and uses nine actors to create some 23 participants over six generations.By a happy coincidence, this story of a wooden table takes place in a new wooden theatre which the National Theatre has built in its riverside front yard (pictured below, © Philip Vile) as a Read more ...
David Benedict
People sneer at musicals for endless reasons: they hate Broadway brashness, non-naturalistic lurches in and out of song, the sentimentality. One of the least acknowledged reasons, however, is because their plots – predictability plus songs – have zero tension. And you know what? Placed in the witness box, many a musical emerges guilty as accused. But the quietly astonishing Once is innocent of all those charges. Deftly exploding just about every myth about musicals, it’s simply riveting.The tension maintained throughout John Tiffany’s bewitching production is all the more remarkable Read more ...
aleks.sierz
Anthony Neilson is the wild man of new writing. However, this reputation, which has been provoked by shock-fests such as Penetrator (1993) and Stitching (2002), belies the fact that some of his best work, such as The Wonderful World of Dissocia (2004), exudes a warm humanity and offbeat humour. But perhaps the most significant thing about some of his recent work has been his concern with process.Instead of writing a play and then handing it over to a director and actors, Neilson creates his stories in rehearsal. So his latest 110-minute piece, Narrative, began life with the bald title of A Read more ...
carole.woddis
"And, to deal plainly, I fear I am not in my perfect mind." So speaks King Lear towards the end of his monumental journey of self-knowledge that has taken the mad monarch from the highest to the lowest reaches of human experience.Unsurprisingly, it was an ambition long held and within the grasp of the actor Edward Petherbridge to play Lear, widely regarded as the summit of a classical thespian's career, when, in New Zealand to take on the part in 2007, he was struck down by not one but two strokes.The miracle is that he is here to tell the tale and, what’s more, to devise - at 76, as he keeps Read more ...