Theatre
Sam Marlowe
He arrives in a blaze of light and trumpets, but Jonathan Pryce’s King Lear seems as much charming, lovable father as imposing monarch as he sets about carving up his kingdom. What follows, though, brings a prickling sense of horror, as Michael Attenborough’s production lends a disturbing dimension to Shakespeare’s bleak tragedy. This is an account of an emotional despotism that has led to a hideous distortion of relationships; and Lear’s demand for absolute loyalty and devotion – his need to quantify love, and to receive proof of it – has damaged his elder daughters so profoundly that it Read more ...
aleks.sierz
With the American presidential election campaign now in full swing, the search is surely on for cultural expressions of the two nations that the candidates represent: white rich people versus the rest. Okay, maybe an exaggeration, but who says I’m unbiased? Anyway, a new play from Tarell Alvin McCraney, one of the most innovative black American playwrights of his generation, runs the risk of being seen as a metaphor for Obama’s first term in office. But does this burden the new play with too many expectations?At first sight, maybe so. The setting is the Charles R Drew Prep School for Boys, an Read more ...
Matt Wolf
Rob Ashford occupies a unique perch in the Anglo-American theatre. Florida-born, raised in West Virginia and a product of Broadway, where he began as a dancer in shows including Parade, Victor/Victoria and the celebrated Lincoln Center revival of Anything Goes, he some while back crossed to the other side of the footlights to build a career as a director/choreographer that has spanned the Atlantic.It was Ashford who put Daniel Radcliffe through his fledgling musical theatre paces two seasons ago in the Broadway revival of How To Succeed in Business Without Really Trying, and he is currently Read more ...
Laura Silverman
The Kander and Ebb musical Cabaret, inspired by the Berlin stories of Christopher Isherwood, is soon to return to the West End with Will Young. Its less well-known source is John Van Druten's 1952 play I Am a Camera. The title comes from the opening page of Goodbye to Berlin, Isherwood's memoirs published in 1939 inspired by his years in the capital of a country reeling from the last war and suffering from the global Depression: “I am a camera with its shutter open, quite passive, recording, not thinking.”The play focuses on Christopher's relationships with the people he meets in the city: Read more ...
aleks.sierz
After years spent in the dark alleyways of abuse, where the only optimistic light is the sickly glow of neon, some new playwrights are emerging into the sunnier meadows of romantic comedy. The market leader must be David Greig’s delightful Midsummer (2008), which was also a love letter to the city of Edinburgh. Now, Phil Porter’s quirky romcom has come down from the Edinburgh Festival, ready to set metropolitan hearts a flutter and warm even the most cynical temperament.The boy-meets-girl is marvellously quirky. We are introduced to two loners. Jonah is a young man who was brought up on a Read more ...
Matt Wolf
Who says you can't go home again? American actor-singer Anthony Rapp does that, and then some, with his solo show Without You, in which one of the original leads of the Broadway musical Rent relives the passions and pain of an extraordinary time. Quite how the 80-minute piece will register with non-Rentheads (as the show's fans remain known) must be up for grabs.Its narrative is inextricably linked to a city, New York, where the late Jonathan Larson's rock musical became a sensation that registered well beyond arts pages. On the other hand, if the response of the opening night crowd Read more ...
Laura Silverman
Affairs, arguments, accidents. Feminism, marital failure and a fear of ageing. Jumpy has plenty of conflicts and issues, dunked in a wonderful bittersweet humour. But while April de Angelis faces uncomfortable truths, she fails to deal with them with equal courage. This play gnashes its teeth – at the gap in communication between generations and at the eternal pursuit of youth – but it lacks bite.Jumpy, which was first on at the Royal Court last autumn, is worth seeing for Tamsin Greig alone. Greig plays Hilary, a middle-class, middle-aged mother having an identity crisis. As Tilly, her Read more ...
Matt Wolf
An erstwhile Broadway flop provides late-summer theatrical fascination in the form of Vieux Carré, the self-evidently flawed Tennessee Williams play from 1977 that nonetheless is worth seeing for anyone attuned to this playwright's singular articulation of abandonment and loss. Robert Chevara's production may be as variable in its casting as is Williams's play in both focus and tone, but when its characters give voice, collectively or otherwise, to the abrasions of life, one is drawn anew into the vortex of an artist acquainted at every turn with psychic pain.Williams scholars will Read more ...
Kieron Tyler
The fright wig is instantly recognisable. Even with her back turned, it’s obviously Tina Turner on stage. Except it isn’t. It’s actress Emi Wokoma playing the singer in a performance virtually guaranteed to turn her into a star. Casualty and EastEnders will soon be distant memories for Wokoma. Good for her, maybe, but she’s the best thing about the otherwise wafer-thin Soul Sister.Soul Sister could have been a game of two halves. The first on the Ike and Tina partnership, his abuse of her and their divorce; the second beginning with her 1983 comeback and solo career. Instead, the solo years Read more ...
aleks.sierz
Since 2004, the Ambassador Group’s Trafalgar Studios has done sterling work in staging West End transfers for some of London’s most promising fringe talents. Kieran Lynn’s An Incident at the Border arrives in the centre of town from the Finborough Theatre, where it was seen in July. It has a good cast and, because of its sceptical attitude to the pervading aesthetics of naturalism in contemporary playwriting, lots of promise. But can it live up to expectations?One sunny afternoon, twentysomething couple Arthur and Olivia go to a park. They feed the ducks in the pond and have a cuddle on a Read more ...
carole.woddis
“Our Country’s Good, a play that proclaimed the power and enduring worth of theatre and that celebrated its centrality to our lives, was of importance in the third term of a government which deemed 'subsidy' a dirty word.” So wrote Max Stafford-Clark of the play he directed at the Royal Court in 1988. A titan of the British Theatre for over four decades and artistic director of the Royal Court for 14 of them (1979-93), ask Stafford-Clark if he feels the words are as relevant now as then and his answer is unequivocal. “Absolutely, yes. I think Cameron and Osborne collectively are more of Read more ...
Veronica Lee
I, Tommy, Gilded Balloon **** Everybody will be familiar with Tommy Sheridan's story, and not necessarily because they closely follow Scottish politics at their most internecine. Rather because the Glaswegian socialist went from being barely a paragraph in broadsheets to being plastered over the front pages of tabloids after a series of revelations – which he strongly denies – about visiting swingers' clubs.It was once all so different, as Rab C Nesbitt creator Ian Pattison shows us in this amusing essay of Sheridan's rise and fall. The extremely charismatic Sheridan was adored by men Read more ...