Theatre
Gary Naylor
As something of an immigrant to the capital myself in the long hot summer of 1984, I gobbled up Absolute Beginners, Colin MacInnes’s novel of an outsider embracing the temptations and dangers of London.Written a couple of years earlier and set a couple of miles east, Sam Selvon’s seminal book, The Lonely Londoners, focuses more specifically on Caribbean immigrants’ experience of a metropolis emerging from post-war austerity, of the cold, of the racism, of the possibilities always just out of reach.Roy Williams’ adaptation of Selvon’s dazzling narrative was a big hit at the intimate Jermyn Read more ...
Rachel Halliburton
It took a while for journalists to identify the chain-smoking, Machiavellian figure who was a permanent presence at early international gatherings to hammer out a strategy on climate change. When Time Magazine nominated “endangered” Earth as its planet of the year in 1989, politicians and climate campaigners leapt into action – but so too did the fossil fuel lobby, with the US lawyer Don Pearlman appointed as “High Priest” of this sinister “Carbon Club”.Joe Murphy and Joe Robertson’s blistering, darkly witty play for the RSC about the negotiations that led to the Kyoto Protocol in 1997 – the Read more ...
aleks.sierz
Most Brits don’t know much about South Africa today, but we do know about house values, so this new comedy by South African playwright and screenwriter Amy Jephta is comprehensible – even in its incoherent moments (of which there are several). Grabbing the chance to expand this venue’s horizons internationally, David Byrne – Royal Court artistic director – has chosen A Good House, billed as an “explosive exploration of race, resentment and community politics”.Marketing hype aside, this 100-minute single-act drama was originally commissioned as a co-production with the Fugard Read more ...
Helen Hawkins
Into a world of grooming gangs, human trafficking and senior prelates resigning over child abuse cases comes Oliver!, Lionel Bart’s masterly musical. Is its grim tale of workhouses, pickpockets and domestic violence an awkward fit with today’s values? On paper, probably yes. Here, loyal Nancy is still a victim of her brutal lover, little Oliver is not spared becoming a felon in the eyes of the law, Fagin is a gangmaster with criminal intent. But this latest West End production is soft-centred alongside the Dickens and delivers just what fans of this wonderful score will want: impeccable Read more ...
Gary Naylor
There are two main reasons to revive classics. The first is that they are really good; the second is that they have something to say about how the world is changing, perhaps more accurately, how our perception of it is changing. Both are true of Annie Kershaw’s slick, sexy, shocking production of Martin Crimp's translation, up close and personal, at the Jermyn Street Theatre.Even if you haven’t seen the play (and, with productions as frequent as they have been, many buying tickets for this sold out run will have) the set-up is familiar. Two maids, resentful of their unpredictable and needy Read more ...
Gary Naylor
This Celine Dion jukebox musical has been a big hit in New York, but crossing The Atlantic can be perilous for any production, so, docked now at the Criterion Theatre, does it sink or float?We open on a framing device, with a group of tourists being shown round a Titanic museum (there’s a whole industry built up around its legend). Any interest/concern that we’re in for a probing analysis of the ethics of monetising the tragic deaths of over 1500 souls due to, at the very least, some element of corporate negligence, is dispelled by a guide who is just aching to go full jazz hands and sing and Read more ...
Matt Wolf
It's the images that linger in the mind as I think back on a bustling theatre year just gone. Sure, the year fielded excellent productions (and some duds, too), but as often as not it's a particular sight that sticks in the mind.I shan't soon forget Patricia Clarkson (pictured below in rehearsals by Johan Persson) descending at play's end on the men in her family in Jeremy Herrin's West End revival of Long Day's Journey Into Night, a ghostly relic almost passive-aggressive in her anguish. Or the astonishing Lesley Manville clambering across the body of Mark Strong in Robert Icke's dazzling Read more ...
Gary Naylor
It is not just Twelfth Night, it’s Twelfth Night, or What You Will in The Folio, a signpost of the choices the inhabitants, old and new, of Illyria must make. Perhaps it’s also an allusion to Will’s own choices as an actor/playwright in the all-male company who cross-dressed (and maybe more) as women and girls without batting an eyelid. As is so often the case with the comedies, the great entertainer doesn’t hesitate to smuggle in a soupçon of transgressive psychology under cover of farce.We open on a young woman clambering out of the sea, shipwrecked but unbowed, soon seeking employment Read more ...
Rachel Halliburton
This feels like the theatrical equivalent of being in a centrifuge – a wild, spinning ride through different forms of reality that deftly separates out the different layers of who you think you are. It’s a multiverse that’s like a cross between Alice in Wonderland and Everything Everywhere All At Once – both liberating and challenging as you hurtle from one situation to another.For the critic, a further challenge is presented once you emerge into the so-called real world again, since you have signed a terrifying form that promises you will sacrifice your household pets – or something similar Read more ...
Heather Neill
Shakespeare must have relished the opportunities brought by the indoor Blackfriars Theatre in 1611: sound magnified in a way impossible outdoors, magical stage effects in the semi-darkness, possibly even fireworks - and all at a time when the masque was the most fashionable theatre form. The Tempest, written especially for the venue, includes a masque and has masque-like properties throughout. Modern directors sometimes provide an equivalent, using whatever technology is at their disposal now, as Greg Doran did in 2016, introducing a digital avatar Ariel while also giving the betrothal masque Read more ...
Gary Naylor
Broadway shows sometimes hit the West End like, well, like a comet, burning brightly but briefly (Spring Awakening, for example), while others settle into orbit illuminating Shaftesbury Avenue with a neon blaze every night for years.So it might be a wise decision to install Dave Malloy’s much-awarded, 2016 musical, Natasha, Pierre & the Great Comet of 1812, in the bijou Donmar Warehouse – fortunately, it’s a gem of a show.“It’s not exactly War and Peace!” was a meme before there were memes, said of anything that was a little too facile to satisfy, the slabby novel a shorthand reference Read more ...
aleks.sierz
Can men really love each other – without sex? Or, to put it another way, how many different forms of male love can you name? These questions loiter with intent around the edges of Tom Stoppard’s dense history play, which jumps from 1936 to the High Victorian age of the 1870s and 1880s, and is now revived by the Hampstead Theatre starring Simon Russell Beale.First staged in 1997 at the National Theatre, the play tells the story of AE Housman (Beale), the Victorian classical scholar and poet who wrote A Shropshire Lad, that collection of yearning lyricism. This revival, however, raises Read more ...