Theatre Reviews
Rapture, Blister, Burn, Hampstead TheatreFriday, 24 January 2014
Feminism suddenly seems to be all the rage in London theatre. Yesterday, I reviewed Nick Payne’s Blurred Lines, and tonight I saw this show by American provocateur Gina Gionfriddo, whose Becky Shaw was at the Almeida three years ago. This current show is a light comedy, with some good bright lines, an entertainment that takes several pauses in which ideas are expounded and discussed. It’s a bit like being back in college: a mix of laughs and study. Read more... |
Blurred Lines, National Theatre ShedThursday, 23 January 2014
You can’t accuse Nick Payne of being fainthearted. His new play explores what it means to be a woman and it features a wonderful all-woman cast. But wait a minute: isn’t he a man? And what do men really know about being a woman? You see what I mean about needing courage for this project? The good news is that this is a experimental evening based on a good idea. But what’s it like as theatre? The play conveys no sense of lived female experience Read more... |
The Pass, Royal Court Jerwood Theatre UpstairsMonday, 20 January 2014
You don't have to know the difference between Dennis Wise (who is referenced during it) and Ernie Wise (who is not) to be immensely gripped by The Pass, the scorching new Royal Court play that traffics ostensibly in the world of football only to widen out into as corrosive a study in psychic implosion and self-destruction as the London theatre has seen in an age. Read more... |
Ciphers, Bush TheatreSaturday, 18 January 2014
Unlike television, with its series of Spooks and Homeland, theatre has more or less ignored the secret services. For reasons of snobbery (thrillers are somehow beneath the interest of young playwrights) or because of playwriting clichés (write what you know is difficult in the secret world, where no one really knows what’s going on), this is a relatively unexplored area. But in the era of Wiki-leaks and Edward Snowden, surely few subjects could be more timely? Read more... |
Putting It Together, St James TheatreThursday, 16 January 2014
“God,” wrote Stephen Sondheim, “is in the details.” Of course, he didn’t actually coin the phrase but throughout his published collections of lyrics he cites it as one of his three guiding principles. But to witness detail you need to be up close. Last seen on Broadway in the 1,058-seat Barrymore Theatre, Putting It Together felt overblown and strained. Read more... |
The Duchess of Malfi, Sam Wanamaker PlayhouseThursday, 16 January 2014
A candlelit theatre is one thing. A theatre when those candles are so close you could lean in and blow them out, where a good line sets them flickering in gusts of audience laughter is quite another. We’ve been spoilt by the Globe for almost 20 years now, and the novelty of its open-air theatre still feels fresh. With the new, Jacobean-inspired Sam Wanamaker Playhouse (capacity just 340), they have done it again. Read more... |
Not I, Footfalls, Rockaby, Royal Court TheatreTuesday, 14 January 2014
In many ways, the darkness is the most memorable aspect of this production. It's so deep and all-encompassing that your eyes start to play tricks on you, seeing spots of light and shadow where there is only blackness. Because of this, when Lisa Dwan's mouth is slowly illuminated eight feet up on the stage, it's easy to dismiss it at first as just another trick of the dark. Read more... |
Only Our Own, Arts TheatreSaturday, 11 January 2014
There are few things as depressing as whinge drama. But the Anglo-Irish have a reasonable claim to be considered the Republic of Ireland’s forgotten losers. The term means the wealthy Protestant class whose elegant stately homes dotted the landscape while the island was a British colony. But during and after the War of Independence, which ended in 1922, they became a target for the Irish Republican Army. Read more... |
Bloodshot, St James TheatreWednesday, 08 January 2014
There is no point during Bloodshot where you can be entirely sure just what you are watching. At times it seems like a straightforward one-man show, with sole cast member Simon Slater charging around wildly in his efforts to bring the multiple characters to life. At others, it's a cabaret, as Slater whips out a saxophone and coaxes forth a few achingly good riffs. Read more... |
Theatre: Top 10 of 2013Sunday, 29 December 2013
Playgoers could be forgiven for thinking that they were seeing double during much of 2013. No sooner had you sat through Ian Rickson's dazzling revival of Old Times once before you returned again to watch its peerless pair of actresses, Kristin Scott Thomas and Lia Williams, swap roles. 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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