Theatre
David Nice
Tradition has often bedded down very comfortably in the Russian performing arts, which ought to be an asset in the current vortex but brings mixed blessings. Detailed ensemble work, the Moscow Sovremennik Theatre's strongest asset, takes time to develop, yet actors with roles for life may be slow to yield to fresh blood. So does theatre legend Galina Volchek's 21-year-old production of a tough literary adaptation about women learning the "new language" of the terrible year 1937 on the way to Siberia merit a standing ovation? If you're a Russian with a long memory, yes; but taking the Read more ...
David Nice
Even at the time it seemed a little strange: the visionary Kathryn Hunter as an oddball Cleopatra in a production that hardly seemed up to the mark either of her performing standards or of her own fabulous Shakespeare staging, a Pericles which was one of the two best things I've ever seen at the Globe.But she'd been through a good few Antony and Cleopatras before she dropped the bomb yesterday that she was withdrawing from Michael Boyd's long-term company, of which she has been an "artistic associate" since 2008.
The press statement is brief and enigmatic. Boyd's and Hunter's "joint" Read more ...
Sam Marlowe
Becky Shaw is lonely, unattractively needy, nervous, hungry for affection, affirmation, security. We are all Becky Shaw. That’s a gross generalisation, of course – but then, generalisation is the language of Gina Gionfriddo’s play, which premiered in Louisville, Kentucky, prior to a 2009 off-Broadway run.A smart-mouthed, brittle comedy about the slippery politics of sex, dependency and what we choose to call love, the piece is crammed with zingers, but often feels like little more than a US sitcom: a well-crafted, sharply written sitcom, but for all its style a work that seems more concerned Read more ...
David Nice
Have you ever found onstage nudity sexy? Unlike a friend of mine, for whom the epiphany of the National Theatre's Bent was the giant member in the first five minutes, I honestly haven't. Sensuous, once, in the Maly Theatre's skinny-dipping Platonov, and even sweet, in ATS Theatre's strong adaptation of Forster's Maurice. Since the theatre's Artistic Director Peter Bull, evidently a good guy, was staging this, Jack Heifner's all-male updating of Schnitzler's La Ronde, I'd hoped that some good things would come of it. Unfortunately, for me at any rate, Seduction was neither erotic, very funny Read more ...
sheila.johnston
Set at a pivotal point in Shakespeare's canon, Twelfth Night is a glass-half-full kind of play. Is it a joyous, clear-eyed, compassionate comedy of human foibles by a writer reaching maturity, a wild and crazy ride through a season of carnival misrule and role reversal? Or, on the other hand, an ominous harbinger of the troubling, darkening work still to come? It will come as no great surprise that this production, directed by Peter Hall who turned 80 in November, inclines to the latter view and the play's repeated references to the fleetingness of youth, love and life itself blast across Read more ...
aleks.sierz
Playwright Nina Raine has a gift for evocative play titles. Her 2006 debut was called Rabbit, and her sellout success at the Royal Court last year was Tribes. This time, we seem to be on safari with Tiger Country, but appearances can be deceptive. Raine's titles conceal as much as they reveal: Rabbit was not about furry creatures, but about chatty women; Tribes was not an anthropological study, but an account of the deaf community; and Tiger Country is located not in South-East Asia but in a busy London hospital.Playwright Nina Raine has a gift for evocative play titles. Her 2006 debut was Read more ...
alexandra.coghlan
“Now go we in content. To liberty and not to banishment.” A touchstone to productions of As You Like It, Celia’s wishful recasting of the Forest of Arden can rarely pass unchallenged by directors. In 2009 we saw Michael Boyd’s RSC production go head to head with Thea Sharrock’s unexpected and beguilingly sunny interpretation at the Globe – a contest in which Sharrock proved a comfortable victor. Returning once again with his conventionally darker-hued take on Shakespeare’s comedy, the question was always going to be whether Boyd could grasp the authority that so slimly eluded him last time. Read more ...
aleks.sierz
At a failing secondary school in Tilbury, Essex, Zoe arrives as an ambitious, newly qualified teacher who hopes to make a difference to her unruly pupils. But although she impresses her learning mentor, Maz, and Harry, the soon-to-retire acting head, she gradually gets into an emotional tangle. Neither her attractive manner, nor her will to succeed, nor her teaching skills are able to prevent her from making some bad mistakes: she wants to be friends with her pupils; she sleeps with Maz; she overplays her hand, in both classroom and staffroom.As the impeccably plotted story — which spans one Read more ...
sheila.johnston
Joseph Mallord William Turner - Billy to his intimates, such as he had - is the notional centre of The Painter, a snapshot of the great British landscape artist as a young iceberg. Toby Jones is the main draw in this world premiere of Rebecca Lenkiewicz's new play, and he emanates quiet charisma and sardonic wit. But it's the women in his life who get the better scenes and who steal the show.Success came early to Turner. In 1799, when the play begins, he was still in his mid-twenties but had been exhibiting watercolours at the Royal Academy for nearly a decade – possibly buying his paints Read more ...
carole.woddis
Do Stanislavski and Lee Strasberg have a lot to answer for? Or can we place the blame, if blame it is, elsewhere? I’m referring to the steady, insidious advance of theatre mumbling. You may have noticed it at a theatre near you. It’s the art that disguises itself in “naturalism”, a kind of quasi “Method” style of acting.It’s not always easy to detect. At first you think you may be mistaken. Isn’t this “great acting” I see before me, the eyes furrowed towards the floor, the voice low, even a little seductive? You blink – and blink again. You wait for something to happen on stage. But wait a Read more ...
Tom Birchenough
Twenty-odd years ago, on the eve of the break-up of the Soviet Union, the country’s cultural world was anticipating cardinal changes – anything from a series of closures to a radical alteration in which the way art would be produced under new economic circumstances. Nowhere more perhaps than in theatre, where the established universal nationwide system of repertory companies faced potential implosion.Despite a subsequent decade of considerable uncertainty, such fears would prove largely unfounded. This month’s visit by Moscow’s Sovremennik Theatre to London offers a chance to see the very Read more ...
Ismene Brown
In 2011 the Barbican offers eminent theatre directors Robert LePage and Peter Brook along with the diversions of London International Mime Festival. Music includes composer focuses on Unsuk Chin, Brian Ferneyhough and Peter Eötvös, and high-profile visits by great conductors Sir Simon Rattle, Bernard Haitink, Sir Colin Davis and Barbican resident guest Valery Gergiev. Joan as Police Woman, the Waterboys, Ladysmith Black Mambazo and Marianne Faithfull are among contemporary music performers while video and media art is featured from Ryoji Ikeda and Cory Arcangel. Full season listings below. Read more ...