Theatre review: Against

2008’s Now or Later has made me look forward to Christopher Shinn’s work, but so far none of his other plays have lived up to that one for me. His latest premieres at the Almeida in a production by Ian Rickson, and tries to deal with huge issues of faith and the human capacity for violence, as a self-made billionaire believes he’s been given a message from god to go out into the world and solve America’s violence problem. Ben Whishaw is no stranger to playing messianic figures so he’s a natural match to Against’s protagonist Luke, a tech and aerospace giant who leaves behind all his companies when he claims to have been given a divine message to “go where the violence is.” He interprets this vague missive as meaning he should travel to the scenes of violent crimes and stay there long after the press have moved on to the next story, collecting feelings and reactions from the survivors and compiling their stories on a website.

Theatre review: Uncle Vanya

Uncle Vanya is Anya Reiss' third Chekhov adaptation with Russell Bolam at the helm, and hopefully that'll let her view it as a trilogy and return to her own original plays, which in the past have been rather good. (Although here's a fun game, see if you can spot the bit on the website where it actually says this was written by Anton Chekhov. It's there somewhere. Like Wally.) This is one of the Chekhov plays I've seen less often, and I've yet to see a production that convinced me of its greatness. Spoiler alert, but this production didn't either. John Hannah plays the titular Vanya, who's spent most of his life taking care of the farm owned by his late sister, and now passed on to her widower, the elderly academic Serebryakov (Jack Shepherd.) The latter has now retired and come back to the farm with his new young wife Yelena (Rebecca Night,) where he's not entirely welcome.

Theatre review: The Nether

Jeremy Herrin's first show as director since taking over Headlong is a co-production with his old stomping ground at the Royal Court, where he brings the UK premiere of an unsettling American play to the Downstairs stage. The Nether is a future iteration of the internet that's not only highly realistic but also totally immersive. It hasn't quite managed to replicate touch yet but a virtual community called The Hideaway seems to have perfected it. The trouble is that The Hideaway is a community for paedophiles, a virtual Victorian estate where "Poppa" invites his guests to spend time with his children. As The Nether acquires a fledgling police force, Detective Morris (Amanda Hale) has managed to track down the man behind Poppa and his realm, the aptly-named Sims (Stanley Townsend.) Taking him in for questioning "in-world" (i.e. in the real, non-virtual world,) Morris tries to get him to reveal the whereabouts of his server.

Theatre review: Eldorado

When Wogan ended in 1992, the BBC replaced it with the much-publicised soap Eldorado, set among British ex-pats in Spain. I don't remember much about it except there was a man's naked arse in the first episode, but despite that it became a famous flop. It was taken off-air a year later, ironically just as it was starting to find an audience. Still, it meant Jesse Birdsall was now available to make Bugs, another show considered a bit of a laughing stock, but which actually did quite well for the Beeb in international sales. None of this has anything to do with the play of the same name at the Arcola's main house. Did the soap have some Germans in it? This Eldorado is written by a German - Marius von Mayenburg, whose other plays include The Ugly One, The Stone and Fireface, all of which I've enjoyed.

Theatre review: The Domino Heart

Apparently the same organ can be transplanted more than once. It's called a Domino Transplant and forms the basis of Canadian actor Matthew Edison's playwrighting debut The Domino Heart. It's made up of three monologues by people who, whether literally or metaphorically, have at some point had possession of the heart in question, that of a writer killed in a car crash. First up we have the newly-widowed Cara (Amanda Hale,) who like many people dealing with grief blames herself - in her case it's because she and her husband were arguing at the time of the accident, about an affair she had had ten years previously. On top of this, the fact that a heart her husband said belonged to her, will now be harvested to be given to someone else, makes her want to say quite a literal goodbye to it.