Theatre
mark.kidel
Coram Boy is a thrilling story of dead babies, teenage love, material greed and the redeeming power of music. This is Christmas entertainment that packs a powerful punch, borne aloft by the inspiring sound of Handel’s Messiah, with horrific events presented on stage, an emotional rollercoaster ride that is definitely not for the very young or the faint of heart.The production comes from the same team that launched the show, based on Jamila Gavin’s now classic young persons’ novel, at the National Theatre in 2005. Adapted by Helen Edmundson and directed by Melly Still, it has been re-imagined Read more ...
Matt Wolf
A generally grim year for musicals (Matilda and Crazy For You very much excepted) nears a belatedly emotional and rewarding close with the Crucible Theatre's revival of Company, which brings the Sheffield playhouse's artistic director, Daniel Evans, back into the orbit of the man whose work is responsible for his two Olivier Awards. That the person in question is Stephen Sondheim means that interest is keen in an onward life for a staging that results in the knockout punch one always hopes for from this piece while offering up not a few eccentricities along the way. Indeed, just as Read more ...
Kieron Tyler
Frank Sinatra might have come to dislike being branded as part of the Rat Pack, but the phrase stuck and still sticks. Judging by last night’s Christmas-slanted show, just as he, Dean Martin and Sammy Davis Jr live forever, so will that phrase. Eleven years on from the first Rat Pack Live From Las Vegas show the shine hasn’t gone and the trio – even though they aren’t really there – light up the Wyndham’s Theatre.Strolling on to open the show with “Come Fly With Me”, Stephen Triffitt is Frank Sinatra. He’s been at it for over 10 years and ought to be good, but if you’re a first-timer little Read more ...
bruce.dessau
Four children allowed to go off in a boat on the Lake District by their mother without a responsible adult or lifejackets? If this happened today Social Services would be down on mum like a ton of bricks. But this is 1929, long before the tyranny of parental paranoia, which may go part of the way to explaining why Arthur Ransome's story of childhood adventure, unfettered by adult interference, is such an enduring hit. And another reason why this West End transfer from the Bristol Old Vic is such a hit is the music from The Divine Comedy's Neil Hannon.The involvement of Hannon inevitably Read more ...
theartsdesk
Any day now most of us will be hunkering down and for the most part drawing a curtain about the world outside. Before that happens, we’d like to tell you about theartsdesk’s plans for Christmas and the New Year.As well as posting our usual range of reviews (coming up in the next couple of days, some terrific writing on theatre, film and television), we also have a selection of seasonal treats. On Christmas Day we are publishing a bumper arts quiz specifically tailored for readers of theartsdesk, who know their cultural onions. (Sample questions: "In Tinker Tailor Soldier Spy what type of mint Read more ...
Jasper Rees
In Rock’n’Roll, the play by Tom Stoppard, two characters haunt the stage without actually appearing on it. One of them, Syd Barrett, absconded from Pink Floyd to lead the life of a hermit. The other, Václav Havel, gave up the life of an internationally acclaimed, domestically banned playwright to become a head of state. Only one of them was in the audience for the premiere at the Royal Court. And it wasn’t the hermit.A few days later, I had the great privilege of interviewing the dissident playwright who took the Czech Republic into NATO. The accidental president cut an unpresidential figure Read more ...
Jasper Rees
To just about everyone, the name will mean absolutely nothing. "I'm a jobbing actor," he says, and for most of the year it is true. He does little bits of telly, the odd tiny film role, a certain amount of provincial theatre. Every Christmas, though, Berwick Kaler strides forward into the spotlight of the ravishing, intimate York Theatre Royal and bids welcome to a fanatical army of devotees. The majority are local, but some cross continents, cross oceans, to see him transmogrify each year into the longest-serving pantomime dame in the business."I'm the only one in the theatre who remembers Read more ...
Jamila Gavin
Someone told me that the highways and byways of England were littered with the bones of little children. It was a shocking statement and of course I asked, “What do you mean?” I was told that abandoned children were a common feature of the past, but that in the 18th century someone called a “Coram Man” used to wander about from village to village and town to town – a bit like a tinker – picking up unwanted children.But who was this Coram Man?” No one seemed to know. With only the name “Coram” to go on, I trawled through the London telephone directory and came across the Coram Foundation in Read more ...
Veronica Lee
Conor McPherson's 2000 play is one of the Irish writer's most memorable works, and this revival comes soon after his less acclaimed latest play, The Veil, over which we shall draw, er, a discreet veil, debuted at the National. It reminds us that McPherson at his best is a writer of humanity and compassion and, as a former toper who is now a non-drinker, one who understands the lure of the bottle. Abbey Wright's seasonal revival of Dublin Carol (it's set on Christmas Eve) is a Donmar production shown as part of the theatre's Resident Assistant Directors scheme in a 12-week season at Trafalgar Read more ...
Veronica Lee
The play-within-a-play device has honourable antecedents - playwrights from Thomas Kyd and Anton Chekhov through to Bertolt Brecht and Tennessee Williams have flirted with it, while Shakespeare loved it so much that he used it in several of his plays, most famously in Hamlet. Michael Frayn had the idea for Noises Off, which he wrote in 1982, when he was standing in the wings at a performance of Chinamen (a one-act farce performed as part of The Two of Us), which he had written for the late Lynn Redgrave, and thought that the backstage goings-on were even funnier than the onstage action.In Read more ...
philip radcliffe
Oh, the joys of eccentricity. Welcome to the Vanderhof family of misfits. The head of the household, Grandpa Martin, refuses to pay any taxes, preferring to keep snakes on a hatstand. Good for frightening off the tax inspector, who unexpectedly drops by.Other members of the three-generational New York family variously make fireworks in the attic, bake strange candy, play Beethoven on the xylophone, produce unrecognisable masks and write unsuccessful melodramas. Daughter Essie moves around the place as a hopeful hopeless ballerina, aided by an explosive Russian teacher, Olga (Maggie O'Brien, Read more ...
graeme.thomson
This year's seasonal production from the Lyceum is one of those shows that feels more like an uninspired stocking filler than a big, beautiful, beribboned gift. Neither magically Christmassy (it begins on Halloween, and the only substance falling from the heavens is gold dust), nor a gung-ho pantomime (though some slightly stilted call-and-response mischief creeps through the cracks in the fourth wall), in the end it seems content simply to entertain rather than enthral.Stuart Paterson’s revamped version of the original La belle et la bête was written over two decades ago and retains the Read more ...