thu 25/04/2019

Young Vic

We Made It: Stage Technician Tom Robinson

If you’ve read any of the glowing reviews for the current revival of Caryl Churchill’s cloning play A Number, you’ll know all about the extraordinary set. Produced at the Nuffield in Southampton last year and transferred to the Young Vic this week,...

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A Number, Young Vic Theatre

The reason that Caryl Churchill is Britain’s best living playwright is that her work is endlessly enquiring and peerlessly intelligent. When she wrote this play about the subject of human cloning – which had its premiere at the Royal Court 2002 with...

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theartsdesk Q&A: Director Michael Longhurst

Is there more than one Michael Longhurst? As sometimes happens in theatre, a rising young director seems to be everywhere at once. His calling card is the modestly universal Constellations. Directed with clarity and simplicity, Nick Payne’s romantic...

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The Trial, Young Vic

Kafka and Jones, the names above this little shop of horrors, would be a marriage made in off-kilter theatreland had the Czech genius written any plays. He didn’t, so Nick Gill has made a well-shaped drama out of the assembled fragments of which The...

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Ah, Wilderness!, Young Vic

Coming-of-age comedy, moonlit romance and a gentle folk soul: can this really be Eugene O’Neill? The master of darkness makes a surprising departure with semi-autobiographical 1933 work Ah, Wilderness!, which visits staple tropes – addiction, family...

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Lippy, Young Vic

How do we respond to a tragedy of infinite mystery? We investigate, we speculate, and we seek to impose meaning, to produce a story that safely contains unfathomable horror. However, those hoping for such reassurance via a traditional theatrical...

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Happy Days, Young Vic

For those who never saw Samuel Beckett’s favoured performer Billie Whitelaw on stage as indomitable, buried-alive Winnie, peculiarly happy days are here again with another once-in-a-generation actress facing what Dame Peggie Ashcroft called “a ‘...

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Bull, Young Vic

Mike Bartlett is the most prolific and talented British playwright to emerge in the past decade. Not only has he created large-scale epics in a variety of styles — from the science-fiction fable Earthquakes in London to the Shakespearean King...

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Golem, 1927, Young Vic

British theatre company 1927 celebrate their 10th birthday next year. Over this nearly-decade they have produced just three shows (plus a reimagining of The Magic Flute for Berlin’s Komische Oper). If that seems a little like slacking then you’ve...

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The Way Back Home, ENO, Young Vic

A Martian, a Spitfire and a flatulent penguin are the unlikely ingredients for The Way Back Home, English National Opera’s first foray into the colourful world of children’s opera. And if those don’t sound like enticement enough, be reassured, at...

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The Cherry Orchard, Young Vic

Ghosts are walking at the Young Vic. Katie Mitchell’s stark, startling production of Chekhov’s final lament is not just an evocation of a lost era, but a summoning of the spirits haunting Vicki Mortimer’s chilling sepulchral mansion. This is a...

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10 Questions for Playwright Simon Stephens

Fresh from global domination with The Curious Incident of the Dog in the Night-time, currently garnering rapturous reviews on Broadway, inexhaustible playwright and adaptor Simon Stephens has swapped Mark Haddon for Anton Chekhov and a new...

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