The Coronet Theatre is a beautiful space – it’s a listed Victorian building, and the bar’s like something out of a film about Oscar Wilde. Unfortunately, Robert Holman’s The Lodger, a new play about family and trauma, doesn’t live up to its surroundings. Director Geraldine Alexander, last seen as the Bridgertons’ arch-yet-kindly housekeeper, salvages a clumsy script that smacks more of a debut than the work of an established writer.It’s unclear whether The Lodger wants to be a family drama, or a comedy, or something in between. Esther (Penny Downie) and Dolly (Sylvestra Le Touzel) are sisters Read more ...

“I'm growing old,” laments Tom Jones as his 40th studio album draws to a close. Sir Tom is “growing dimmer in the eyes” and “drowsy in my chair”. These blunt observations are not sugared with the mordant humour that, say, Randy Newman or the late Leonard Cohen might apply to a bad case of codgerdom. The only apt listener response to the song "I'm Growing Old" is: “Well you're 80, I guess you are.”Jones's days as a hip-swivelling knicker magnet are fast receding in time's rearview mirror. However, elsewhere on this album Jones does everything in his power to contradict the notion that he'll be Read more ...

“David, don’t run,” is the refrain that runs through the first scenes of Lee Isaac Chung’s affecting, autobiographical Minari, acclaimed at Sundance, winner of a Golden Globe for best foreign language film (it’s mainly in Korean) and nominated for several Academy Awards. David, played by wonderful seven-year-old newcomer Alan Kim, has a heart problem that causes his parents, especially his mother Monica (Yeri Han) to worry about him constantly.They have plenty of other worries too. Jacob Yi (Steven Yeun; Sorry to Bother You, Burning, Okja, The Walking Dead) has brought his family from South Read more ...

“Nothing is funnier than unhappiness.” Director Richard Jones has certainly taken Beckett’s words to heart in this vividly comic, star-cast Old Vic double bill, pairing Endgame with a lesser-known short play – which acts as a sort of stylistic and thematic amuse bouche. The result is a richly engaging evening, though one that skirts real profundity.We open with Beckett’s Rough for Theatre II, a half-hour vaudevillian sketch in which two dark-suited, bureaucratic colleagues (Alan Cumming and Daniel Radcliffe, pictured below) discuss whether or not a man will commit suicide; echoes here of both Read more ...

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 ...

This is a love story and a ghost story. The year is 1934 and the Held family have moved from the countryside to an elegant house on Katalin Street in Budapest. Their new neighbours are the Major (with whom Mr Held fought in the Great War) and his mistress Mrs Temes, upright headteacher Mr Elekes and his slovenly and unconventional wife Mrs Elekes.Almost as soon as Henriette, the diminutive daughter of the Helds, begins to explore the house, she is ambushed by her mother at the threshold of her new bedroom and introduced – in the assured, declaratory manner of adults – to the Elekes Read more ...

If you're going to write a play that traffics in bafflement, it's not a bad idea to have on hand one of the most beady-eyed actresses around. That would be Dame Eileen Atkins, whose keen-eyed intelligence cuts a swathe through the deliberate obfuscations of The Height of the Storm, the latest from the ever-prolific Frenchman, Florian Zeller. More than any of his previous works, the fractured storytelling at work here adds up to an elaborate puzzle that is sure to leave audiences debating over post-show drinks what the hell actually happened. Such discussions need not be rushed, by the way, Read more ...

Iris is a museum conservator with a pair of pre-adolescent daughters and a failing marriage. Raif is a widower and an academic who, since writing a book on curiosity cabinets a decade ago, has quietly sunk into a kind of irrelevance. Both have established lives that are slowly and undramatically falling apart; both are well into middle age. They meet by chance at an evening event at Iris’s museum. Nothing out of the ordinary happens, but something more than words is exchanged. Together, separately, they experience “a turning towards one another as natural as waking,” a sensation as familiar Read more ...

In a small town on the Polish-Czech border where the mobile signal wanders between countries’ operators and only three inhabitants stick it out through the winter, animals are wreaking a terrible revenge. The bodies of murdered men, united in their penchant for hunting, have turned up in the forest, violently dead and rotting. Deer prints surround one corpse, beetles swarm another’s face and torso. Foxes escaped from an illegal fur farm need little motive to exact summary justice on their former jailor.The authorities of the wider conurbation provoke distrust – kickbacks and dirty Read more ...

There have been plenty of films about mountains, and they are mainly about men. The plot tends not to vary: man clambers up peak because, as Mallory famously reasoned, it is there. Whether factual or scripted, often they are disaster movies too: Everest, Touching the Void, the astonishing German film about the race to conquer the vertical wall of the Eiger, North Face. So Edie, in which an octogenarian woman determines to hike up a Scottish mountain, is quite out of step with the rest of the genre.Edie, as played by Sheila Hancock, is a bit of a forbidding crag herself. She has spent her life Read more ...

Lisa Halliday’s striking debut novel consists of three parts. The first follows the blooming relationship between Alice and Ezra (respectively an Assistant Editor and a Pulitzer Prize-winning writer) in New York; the middle section comprises a series of reflections narrated by Amar, an American-Iraqi while he is held in detention at Heathrow en route to see his brother in Iraqi Kurdistan. The final third consists of a transcript of Ezra’s Desert Island Discs recorded some years later.The book focusses on how power imbalances inflect relationships. This is quite clear when Alice’s giddy Read more ...

The practice of mining the rich seam of popular movies to turn them into stage plays or musicals seemingly never grows tired in theatreland. And sometimes it produces a gem but all too often it’s just a cynical ploy to attract ticket sales by piggy-backing on fond memories of a beloved film. It’s unfair to accuse this stage adaptation of Hal Ashby’s cult movie, Harold and Maude, of cynicism; the efforts of all involved are patently sincere, but sadly it just doesn’t work. Whereas the 1971 film was a superior slice of absurdist black humour tinged with transgressive romance, the 2018 Read more ...