farce
David Kettle
Chekhov famously pronounced that if you’re going to bring a gun on stage, you’ve got to use it. Is the same true for a chainsaw? To discover the answer, just head along to Meghan Tyler’s wild, over-the-top, gruesome Crocodile Fever at the Traverse Theatre.It’s tempting, in fact, to draw parallels between Crocodile Fever and David Ireland’s brutal but hilarious Ulster American last year, with its rape gags and casual racism. Not that either of those elements appear in this year’s outrageous offering (is a shocking comedy becoming a Traverse Fringe tradition?), but Crocodile Fever shares Read more ...
Veronica Lee
Michael Frayn's Noises Off is a modern classic, a backstage sex farce that pokes affectionate fun at a profession he loves. And now Jeremy Herrin, one of our most accomplished directors, revives it for Lyric Hammersmith, where the play was premiered in 1982. He also directed a production in 2016 on Broadway, so this is his second bite of the cherry.At the press night, the theatre gods appeared to be in on the fun when, two hours in, the lights failed and a member of the crew came on stage to tell the audience there was a technical hitch in this play within a play, and there was a short delay Read more ...
Rachel Halliburton
Often the greatest works of dramatic absurdism spring from the worst extremes of human experience, whether it’s Ionesco’s Rhinoceros responding to fascism, or Havel’s The Garden Party satirising the irrational cruelties of Prague’s Soviet occupiers. In such dramas, absurdity becomes a powerful metaphor for the way totalitarian power seeks to undermine and warp reality, but in a work like The Glass Piano, in which absurdity is essentially a device for conveying the gently absurd, it’s less easy to see the point.The proposition is utterly fascinating: it’s based on the real life story of Read more ...
Tim Cornwell
Breathe in the love and breathe out the bullshit. After the Arcola Theatre's founder and artistic director Mehmet Ergen read Keith? A Comedy, a wild spin on the quasi-ubiquitous (these days, anyway) Tartuffe by the critic and writer Patrick Marmion, the theatre moved to cast and stage the play in a matter of weeks. Fresh and timely is the result. Marmion's central couple Morgan and Veena are your archetypally idiosyncratic North London family in the age of Corbyn. Morgan is a reformed hedonist who made a fortune from a start-up pocket-money app; Veena, an Anglo-Asian Professor of Read more ...
Owen Richards
What's worse than grieving? That all-consuming loss. For those that have experienced it, nothing really comes close. It starts to bug Thomas (Jordan Bernarde, main picture second right) during his visit to the Williams household. Recently bereaved himself, he senses the fragility in the air but no-one seems to give a straight answer. Everyone would rather focus on him, talking at speed but never really engaging beyond the surface. In Blue, at Chapter Arts Centre in Cardiff, this lack of communication is played for both big laughs and hard hits.Thomas has been brought to the house by Elin ( Read more ...
Richard Bratby
Mid Wales Opera makes small-scale touring look fun – even when you suspect that, behind the scenes, it really isn’t. Barely 24 hours before this performance of their current production of Ravel’s L’heure espagnole, and 11 dates into their current 16 date tour, their Torquemada, Peter van Hulle, was invalided out. Companies this size, and working on this budget, can’t carry understudies. So up stepped tenor Joseph Doody to sing the role from the wings and up, too, stepped the company’s artistic director (and this production’s director) Richard Studer, who mimed the role on stage with such ease Read more ...
aleks.sierz
It's all in the title, isn't it? Martin McDonagh's surreal new play comes with a warning that not only screams its intentions, but echoes them through repetition. Okay, okay, I get it. This is going to be a dark story, a very very very dark story. And, talking of repetition, the show's cast — in its premiere at the Bridge Theatre — is led by Jim Broadbent, who has form with this playwright. He was also in McDonagh's The Pillowman at the National in 2003 — and that was also a dark tale that was bleaker than bleak. Hot on the heels of the hilarious massacres of the recent revival of his The Read more ...
David Nice
You can always be sure of impeccable casting and spirited playing as Ian Page takes his Classical Opera through Mozart year by year. Just don't expect more than the glimmer of genius to come in 1768, though. It doesn't matter in those admirable showcase programmes highlighting the young Amadeus alongside more mature voices of the year in question. A three-act opera is rather more a vexation to the spirit, though. If the composer had no more than a few flashes of genius in his pre- and early teens, the libretto for La finta semplice could have been written by an average 10 year old ( Read more ...
Boyd Tonkin
A proper production of Così fan tutte should make you feel as if the script for a barrel-scraping Carry On film has been hi-jacked by Shakespeare and Chekhov – working as a team. The story is so silly (even nasty), the music so sublime. When, in Oliver Platt’s production for Opera Holland Park, Eleanor Dennis’s Fiordiligi jumps on the furniture to proclaim her devotion to her absent betrothed as a visiting “Albanian” tries to woo her, we stand, as usual, just a hair’s breadth away from utter farce. Then she sings “Come scoglio”, a hymn to steadfastness and constancy that soars above its Read more ...
aleks.sierz
Fifty years ago this month, playwright Joe Orton was murdered by his lover Kenneth Halliwell. His debut play, Entertaining Mr Sloane, had both outraged and delighted West End audiences in 1964, and his follow-up a year later was Loot, which was a flop at first and then a hit when restaged in 1966. This is the show currently being revived at the Park Theatre in a production which restores some of the lines cut by the Lord Chamberlain.Only a handful of lines, mainly about a brothel, are involved, but it’s nice to think that director Michael Fentiman discovered the original script in Read more ...
Tom Birchenough
Trimmings, trimmings. They prove the final straw for Molière’s Harpagon in this new adaptation of the classic French comedy-farce. The menu for his wedding banquet – which he doesn’t want to spend a centime more on than he has to – is being concocted by chef-cum-dogsbody, Jacques. Soup, yes; a bit of meat, possibly. But trimmings… The very thought of them provokes a howl of despair from Griff Rhys Jones, who plays The Miser’s titular tight-purse with enormous gusto.Sean Foley’s West End production definitely doesn't hold back on the trimmings, and they’re not just the standard stuffing on-the Read more ...
stephen.walsh
The latest themed season from WNO, to add to their fallen women, Donizetti queens and what not, goes by the slightly worrying title (for anyone with a short attention span) of “Figaro Forever”, and consists of an operatic sequence derived from Beaumarchais’ three Figaro plays and ending with a new opera by Elena Langer partly based on the last of them, La mère coupable.That comes up next weekend. Meanwhile we’re getting Rossini and Mozart, both in new productions and sung in English. The three operas hardly amount to a trilogy (I’ve seen a run-through of the Langer piece); in fact anyone Read more ...