Theatre
judith.flanders
Mme Tussaud was born in Bern in 1760. Well, in Strasbourg in 1761. Her father was a respectable tradesman. Or possibly the local hangman. Her mother was a clergyman’s daughter. Or more likely a servant. She taught the King’s sister to model in wax at Versailles, she lived through the French Revolution and the Terror, arrived in England during a break in the French Wars to tour her waxworks, became trapped by the resumption of hostilities and was forced to support herself and her young son, while her husband frittered away her inheritance in Paris. Or maybe most of it didn’t happen. The myth Read more ...
Gillian Slovo
I was shocked by the riots. I think everybody was shocked by the riots. It’s not just the scale of the rioting that was shocking. It’s the failure of the police and the fire services to take control of the situation. During my research for The Riots I interviewed a man who had his flat burned down and he told me that he couldn’t believe this could happen in a democracy.I was actually in the Scottish Highlands during the riots so I watched it on TV while friends in London called and texted to tell me what was happening (Slovo pictured below right; image by Charlie Hopkinson). The scale of Read more ...
aleks.sierz
Ever since 9/11, political theatre has mobilised the techniques of verbatim drama, and the Tricycle Theatre in Kilburn, north London, has an impressive reputation for its tribunal plays, often staging the proceedings of judicial enquiries. Earlier this year, they bought us Tactical Questioning: Scenes from the Baha Mousa Inquiry. Now, as an instant response to this summer’s disturbances and apparently provoked by outrage at the Government’s unwillingness to hold a public enquiry, comes The Riots, which opened last night.Written by journalist Gillian Slovo, who was part of the team responsible Read more ...
alexandra.coghlan
There comes a point in a writer’s life when he – it’s usually a he – stops writing about life and starts writing about writing. With Ibsen this stage arrived in the self-reflexive rage and unquiet of When We Dead Awaken – the play the author seemed to realise would be his last. Brooding on genius, art and the clamour of the everyday, it’s an inhospitable work and not one we see often; London’s last professional revival was almost 20 years ago. In a new version by Mike Poulton (he of the Donmar’s recent Luise Miller), the play gains clarity, exposing the warped theatrical bones of Ibsen’s Read more ...
aleks.sierz
It’s the God factor. Although, until very recently, most British playwrights - being a secular bunch - have shied away from tackling questions of religious belief in their work, their American counterparts have had no such inhibitions. The market leader of this trend in the new generation is Catherine Trieschmann, whose 2006 play Crooked featured a “holiness lesbian”, and who now turns her sights on the clash between belief and science in rural Kansas.The main protagonist is Susan, a pregnant but unmarried science teacher from Manhattan who relocates to a small Kansas town, Plainview, which Read more ...
carole.woddis
This needs confessing. Neil LaBute and I have an uneasy relationship. David Mamet - in Oleanna or Boston Marriage mode – also gets under my skin. It’s a close-run thing: misogyny exposed, or the thing itself? After Fat Pig (2004) and The Shape of Things (2005), Reasons to be Pretty is the third in LaBute's trilogy of plays about female appearance, and his seventh collaboration with the Almeida. It must be LaBute’s most adult, moral and seriously comic exploration yet of society’s obsession with female beauty and the male gaze through which so many women still see themselves.Once again I find Read more ...
Veronica Lee
“The whole world's in a terrible state of chassis,” says Captain Jack Boyle more than once during Sean O'Casey's great play, set in 1922 and the second of his Dublin trilogy, bookended by The Shadow of a Gunman (1923) and The Plough and the Stars (1926). It was first performed at the Abbey Theatre in Dublin in 1924, when Ireland - only recently free of the yoke of empire – was tearing itself apart over the 1921 Anglo-Irish Treaty, which established the 26-county Free State, later the Republic.But you don't have to know any Irish history to enjoy Howard Davies's clear-eyed (if not always Read more ...
Matt Wolf
Don't be misled by the mini-history lesson with which Trevor Nunn's belated London stage premiere of The Lion in Winter begins, a sequence of dates, facts and maps that scroll up a decoratively appointed screen and threaten to turn the sumptuous Haymarket Theatre (Nunn's home now across four productions) into an upscale schoolroom. Set over the Christmas season in 1183, James Goldman's play is deliberately anachronistic, often pretty silly fare in which a rancorous family have a gleeful go at one another, the difference being that this envenomed brood isn't just any Tom, Dick or Harry but, Read more ...
philip radcliffe
Nearly 20 years have whizzed by since Jonathan Harvey, then a 24-year-old comprehensive school teacher, wrote a play in the school holidays – and caused a stir. That play was Beautiful Thing, dealing with the then (and now?) contentious issue of two 16-year-old schoolboys, next-flat neighbours in the high-rise south-east London council estate of Thamesmead, who fall in love – and overcome prejudices and obstacles, not least their own self-realisation.It was a daring work. “I wrote it out of anger and outrage,” Harvey says in the programme notes. “The age of consent for gay men was 21, whereas Read more ...
alexandra.coghlan
Many dramatists have taken their turn putting faces to Thoreau’s lives of “quiet desperation”. But the challenge in what Thoreau goes on to conclude – that it is therefore a mark of wisdom and the wise to avoid acts of desperation – has been taken up by far fewer. Salt, Root and Roe sees Tim Price transform an act of violence from one of apparently senseless desperation to one of humane intelligence and generosity. It’s quite the sea change, and one that makes for discomfiting viewing in the close quarters of Trafalgar Studios, but Price and director Hamish Pirie handle their subject matter Read more ...
aleks.sierz
Some plays are so weird they defy description. Well, almost. One of these must surely be the late James Saunders’s deeply absurdist play, whose first outing in 1963 launched the career of the young Michael Caine. Soon after, its author won a promising playwright award. The current revival, part of the Orange Tree’s 40th-birthday season, gives us a chance to look again at a writer whose innovative work has been consistently promoted by Sam Walters, artistic director at this address.Darkness. A man lies under a starry night. Actors, and other creatives, arrive on stage. Who are they and what Read more ...
Veronica Lee
If you didn't know Frederico García Lorca's Yerma before this show, you probably wouldn't be any better informed after watching Natalie Abrahami's engaging but flawed production. In “a new version by Anthony Weigh”, as it says on the programme cover, a backstory of the childless couple Yerma and Juan is interpolated in the Spanish playwright's 1934 "Tragic Poem in Three Acts and Six Scenes” and its chorus has been excised in a much-reduced cast.In fact the version by Weigh (who has just been appointed associate artist at the Donmar Warehouse in London under new artistic director Josie Read more ...