Theatre Reviews
Warde Street, Park TheatreTuesday, 07 October 2014
The advantage of basing drama on real events, particularly emotive ones like the 2005 London bombings, is that they have inbuilt resonance; the disadvantage, all too apparent in 2013 play Warde Street, is that it can be challenging to articulate a revelatory view. Read more... |
Speed-the-Plow, Playhouse TheatreFriday, 03 October 2014
To do Mamet’s work justice, you must be able to deliver dialogue with the speed, skill and breathtaking bravura confidence of Usain Bolt. In Lindsay Posner’s much-hyped but frustratingly sluggish revival at the Playhouse Theatre, only one of three cast members rises to that challenge – and it’s the one who’s generated by far the fewest column inches. Read more... |
Rachel, Finborough TheatreThursday, 02 October 2014
As a political act, the first performance of Angelina Weld Grimké’s Rachel in 1916 is exceptionally important. It was staged in Washington DC by the drama committee of the National Association for the Advancement of Colored People, and was the first play by an African-American woman ever to be professionally produced (as well as one of the first to feature an all-black cast). Read more... |
Electra, Old VicThursday, 02 October 2014
As revered as the Greek tragedies may be, I have to admit to feeling a little weary of all that conspicuous, over-ripe angst, and the expectation of our sympathy, even empathy for matricides, patricides, filicides and all such. Rather than resonate through time, they’ve brought me to the point where I’m feeling “enough already”. Read more... |
Seminar, Hampstead TheatreThursday, 02 October 2014
Writing is a tedious activity, usually requiring a great deal of time spent alone at a desk with a pen, typewriter or laptop. It gives you bad breath and piles. Since a literal representation of this would be death on any stage, plays about writers need a dash of spice. In Pulitzer-Prize nominee Theresa Rebeck’s 2011 comedy, Seminar, this comes from seeing a quartet of budding writers being humiliated by their teacher. Read more... |
Single Spies, Rose Theatre, KingstonThursday, 02 October 2014
Alan Bennett’s 80th birthday last May deserves celebrating not just as a point of respect for a formidable playwright but with awe at his continuing liveliness. More than 40 years after 40 Years On, he is still producing hits, and at Kingston’s Rose an opportune revival of two of his spy plays from the 1980s reminds us that the cuddly Yorkshire macaroon-lover with the swot’s glasses is quite the George Smiley: there are mercilessly observant eyes behind those lenses. Read more... |
Next Fall, Southwark PlayhouseWednesday, 01 October 2014
Britain has entered a “post-Christian” era, declared former Archbishop of Canterbury Rowan Williams earlier this year: we acknowledge its cultural presence, but Christianity is no longer an habitual practice for the majority of the population. Read more... |
The Edge of Our Bodies, Gate TheatreTuesday, 30 September 2014
Sixteen-year-old Bernadette is determined to write short stories. She's a promising writer, describing her own feelings, the strangers and friends who cross her path in telling detail. Read more... |
Dangerous Corner, Richmond TheatreTuesday, 30 September 2014
In his otherwise unremarkable 1932 debut play Dangerous Corner, JB Priestley employs a promising framing device that hints at the kind of metafictional experimentation found in works like Stoppard’s The Real Thing or Pirandello’s Six Characters in Search of an Author. Read more... |
Rudy's Rare Records, Hackney EmpireSunday, 28 September 2014
This stage adaptation of Danny Robins' Radio 4 drama is a feel-good show packed with snappy one-liners from a gaggle of intelligently drawn characters. Its roots in radio are evident, to be sure: the action develops significantly at 30-minute intervals with as many jokes crammed in as possible. On the upside, the story of a failing record store and its feckless owner comes with a host of infectious tunes and a seductively atmospheric score. Read more... |
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★★★★★
‘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.
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