Theatre
Jane Edwardes
There were shrieks, gasps, and nervous laughter in the Nöel Coward Theatre during press night of a kind rarely heard in the theatre. The startled cries marked the triumphant return of Joel Horwood’s adaptation of Neil Gaiman’s magical novel, first seen at the National Theatre in 2019 and now returning to the West End after a long tour.An exploration of the liminal space between memory and imagination, the play focuses on a young, unhappy boy: friendless, distressed by the absence of his mother, frustrated by his father’s attempts to look after him and his sister – burnt toast anyone? – and Read more ...
aleks.sierz
Multiculturalism, according to the Home Secretary, has failed, so where does that leave British Black and Asian communities? Well, certainly not silent. In Mohamed-Zain Dada’s vigorous 90-minute debut play, Blue Mist, the pronouncements of the person he calls Suella de Vil are greeted with all the contempt they deserve. Premiering in the Royal Court’s Upstairs studio space, this story about South Asian Muslim men offers an insight into shisha lounge culture — and challenges easy stereotypes about youth and masculinity.Set in Chunkyz Shisha Lounge, where the twentysomething mates Jihad, Rashid Read more ...
Gary Naylor
Writing about the upcoming 60th anniversary of the founding of the National Theatre in The Guardian recently, the usually reliable Michael Billington made a rare misstep. He called for the successor to Rufus Norris, the departing artistic director, to stage neglected classics: “I would also argue that the National, given its resources, has a civic duty to revive the drama of the past that, Shakespeare aside, is in danger of being consigned to the dustbin.” But does it need to? Whilst it is obvious that an NT production would be a very different beast to a fringe show, Lazarus Theatre Read more ...
aleks.sierz
It’s closing time somewhere in the East End. Nah, not the pub, but at a small local shop. Inside, Denise is banging around with some big pans, while Carly is packing up the flowers. Their business is coming to an end and they are about to hand over the keys to the next tenant.It’s also the climax of Roy Williams and Clint Dyer’s epic Death of England tetralogy, which began in early 2020, and has been one of the best new writing series recently staged at the flagship National Theatre. But while earlier episodes – Death of England, Delroy and Face to Face – featured the men, this time it’s the Read more ...
Veronica Lee
The starting point of this musical comedy – using a panto format to take a deep dive into the UK's immigration law – comes from such a good place that one feels a real heel for criticising it. But however much I wanted to like Shani Erez's ambitious work for BOLD Theatre, I really couldn't.The story within a story follows a group of immigrants to “Britaim” as they stage a panto – what could be more British? – to show their love and knowledge of UK culture.For panto fans there are nods to Dick Whittington, Cinderella and Sleeping Beauty as the story follows Lord Villain (Vikash Bhai), the Read more ...
David Kettle
The title of Peter Arnott’s new play – a co-production with the Pitlochry Festival Theatre, and now partway into a ten-day run at Edinburgh’s Lyceum Theatre – might conjure a painterly image of contented friends and family in an idyllic rural setting.There’s plenty that meets that description in Arnott’s plotline. Ageing politics academic Rennie (a nicely self-satisfied John Michie) has invited a gaggle of his remaining brood, plus a couple of judiciously selected ex-students and their current companions, to his country retreat in Perthshire – a setting that’s stunning evoked in the picture Read more ...
Paul Vale
Although based on the 1958 Paul Gallico novel Mrs 'Arris Goes To Paris, this musical adaptation arrived much later. With a book by Rachel Wagstaff and music and lyrics by Richard Taylor, Flowers for Mrs Harris premiered in Sheffield in 2016, directed by then artistic director Daniel Evans and starring Clare Burt (now appearing across town in Stephen Sondheim's Old Friends) as the eponymous Ada Harris.When Evans transferred to the Chichester Festival Theatre the show was revived there in 2018, but this production marks its London premiere, a year after Lesley Manville led a film version of the Read more ...
Gary Naylor
Shakespeare gives Iago over 1000 lines to implant the jealous rage in Othello, so there’s plenty to of raw material to work with. The director Sinéad Rushe has had the idea to split these weaselly words between three actors, a device that seems so natural, so revealing, so obvious that one wonders why it hasn’t been done before (or, perhaps, more often).Cut to 100 minutes all-through, this production does not just re-invent the wicked ensign, but forces us to reconsider the Iagos we have met in the past and the Othellos he has driven to dreadful murder. Michael C Fox, Orlando James and Read more ...
Gary Naylor
Like theatre itself, the law finds its voice in stories, performance and spectacle. Any law student will, from that very first induction lecture, become suffused in a culture that is informed by and in turn informs theatre, some classes more like an evening at the Old Vic than an afternoon at the Old Bailey.A Voyage Round My Father mines that lucrative seam of inspiration, John Mortimer (creator of Horace Rumpole, unforgettably given life on screen by Leo McKern) writing a kind of love letter to his blind barrister father. In its latest manifestation, this touring production casts Rupert Read more ...
Helen Hawkins
The Sondheim gala show Old Friends is a must for fans of the master, naturally, but its quality would knock anybody who loves musical theatre for six. It’s the successor to a one-off gala of the same name staged in May 2022 and broadcast since by the BBC; a recording will soon be available. The line-up that night included Bernadette Peters, Judi Dench, Sian Phillips, Damian Lewis, Maria Friedman, Helena Bonham Carter, Haydn Gwynne, Julian Ovenden and Julia McKenzie. The last-named has lent her expertise to the current production, along with Matthew Bourne, who's in charge of the Read more ...
Gary Naylor
The Royal Court’s collaboration with Access All Areas (AAA) may not be theatre’s first explicit embrace of the neurodiverse community on stage: Chickenshed has five decades of extraordinary inclusive work behind them and Jellyfish, starring Sarah Gordy at the National Theatre, was one of my highlights of 2019.But Molly Davies's play, directed by Hamish Pirie, may be the most ambitious. Developed by AAA’s seven learning disabled and autistic Associate Artists, the five-year long project addresses many issues but sinks into a convoluted narrative that never quite resolves itself into plain Read more ...
Helen Hawkins
The Biba dresses are way too colourful, the shop’s interior about 10 times too bright… and did anybody really say ”happening threads” in 1965?Taking Ben Elton to task for his portrayal of the Sixties, which feature in the first half of Close-Up, his new self-directed piece about the style icon and national treasure known as Twiggy, shouldn’t be the point. He’s written another jukebox musical, with all the colour-popping jollity that involves, the energetic chorines giving it their all and building an affectionate rapport with the audience. Except, what he’s written is more a hybrid: a musical Read more ...