Theatre Reviews
Into the Woods, Regent's Park Open Air TheatreMonday, 16 August 2010
Sometimes people leave you halfway through the wood. Sondheim meant that in a life-and-death kind of way, but it applied literally to this ingenious show at the autumnal August preview I attended. Some folk thought Act One’s knitting-up of polyphonic fairy-tale lines really was the happy end. Others found unseasonable damp gnawing their bones and slunk off to comforting warmth. Don’t go, I pleaded, it gets deliciously darker. Read more...
|
theartsdesk MOT: Les Misérables, Queen's TheatreFriday, 13 August 2010
For most people a 25th anniversary is cause for celebration – a party, a dinner, maybe a few speeches. If you are musical theatre phenomenon Les Misérables however, festivities operate on an entirely different scale. London struggles to support two opera houses, yet this anniversary year will be playing host to three separate (and briefly simultaneous) productions of Boublil and Schönberg’s classic show, including an all-star, cast-of-thousands spectacular at the O2. Read more... |
Sister Act, London PalladiumFriday, 13 August 2010
You can't move in London for American performers, whether it's the Yankee contingent of The Bridge Project at the Old Vic, or the presence at various addresses of Mercedes Ruehl, Jeff Goldblum, Glee star (and erstwhile Tony... Read more... |
theartsdesk MOT: The Woman in Black, Fortune TheatreFriday, 06 August 2010
A good ghost story never ends. Its twirling impetus sets a narrative top in motion that continues to spin indefinitely in the mind, propelled by the force of a listener’s imagination. As good ghost stories go, The Woman in Black is among the most insidious, having reduced audiences of metropolitan adults to whimpering, night-light clutching infants since 1987. Read more... |
Earthquakes in London, National TheatreWednesday, 04 August 2010
What sound does a screaming foetus make? It’s not the kind of question that most theatre plays provoke you to ask, but Mike Bartlett’s new piece about climate change is not a normal play. At the end of the first half of this rollercoasting epic, dazzlingly directed by Enron maestro Rupert Goold and which opened last night, the image of a foetus crying out in the womb seems perfectly reasonable. Read more... |
Stephen Sondheim at 80, Royal Albert HallSunday, 01 August 2010
Everybody in the business says don’t think Sondheim is easy. I’ve seen galas where big names stumbled in under-rehearsed numbers, and last night Bryn Terfel and Maria Friedman slipped and almost fell on the same banana skins that had done for them in a hastily semi-staged Sweeney Todd. Not enough to matter, though, and they rightly brought the house down. And the show as a whole? Read more... |
Alan Moore's Unearthing, Old Vic TunnelsFriday, 30 July 2010
It's very hard to ever know what to expect from Alan Moore, the Mage of Northampton. The author of era-defining comics like Watchmen, V For Vendetta and From Hell has long maintained that art and magic are one and the same, and since the mid-1990s his works have often tended to be long and complex explications of various occult principles, which while eye-opening can often lose readers in all their baroque unfoldings. Read more... |
theartsdesk MOT: The Phantom of the Opera, Her Majesty's TheatreFriday, 30 July 2010
With summer now fully upon us, and tourists flocking to the West End, it seems a good time to lift the bonnet on the tireless engine of London’s long-running hit shows. Read more... |
Anne Boleyn, Shakespeare's GlobeThursday, 29 July 2010
Never have the Tudors seemed so real. After decades of TV and film characters keeping us at a teasing, ermined distance, Hilary Mantel's dazzling novel Wolf Hall brings it all to life as never before, and the Globe's still-running Henry VIII has vigorously built on that. But the Stuarts? Read more... |
The Prince of Homburg, Donmar WarehouseTuesday, 27 July 2010
This, Heinrich von Kleist’s last play, was completed not long before he committed suicide, aged 34, in 1811, when the map of Europe - and indeed that of his native Prussia - was changing with indecent frequency. It is loosely (very loosely) based on the real Prince of Homburg and events at the Battle of Fehrbellin in 1675, and with its leitmotif of honour, duty and loyalty to the Fatherland, it is no wonder that the play was appropriated (with suitable adjustments) by the National... Read more... |
Pages
Advertising feature
★★★★★
‘A compulsive, involving, emotionally stirring evening – theatre’s answer to a page-turner.’
The Observer, Kate Kellaway
Direct from a sold-out season at Kiln Theatre the five star, hit play, The Son, is now playing at the Duke of York’s Theatre for a strictly limited season.
★★★★★
‘This final part of Florian Zeller’s trilogy is the most powerful of all.’
The Times, Ann Treneman
Written by the internationally acclaimed Florian Zeller (The Father, The Mother), lauded by The Guardian as ‘the most exciting playwright of our time’, The Son is directed by the award-winning Michael Longhurst.
Book by 30 September and get tickets from £15*
with no booking fee.
latest in today
'We are bowled over!' Thank you for your messages...
