Our Class, 2010's Romeo and Juliet, and 2011's London Road. But in the meantime here's some of the hits, misses, and unexpected running themes of the year, and I might chuck in a few non-awards along the way.
Writing down what I think about theatre I've seen in That London, whether I've been asked to or not.
Monday, 31 December 2012
Thursday, 27 December 2012
Theatre review: The Dance of Death
Thursday, 20 December 2012
Theatre review: Viva Forever!
Wednesday, 19 December 2012
Theatre review: Mydidae
Tuesday, 18 December 2012
Theatre review: Julius Caesar (Donmar Warehouse)
Gregory Doran's Africa-set production was probably the best I've seen the play done, so this one at the Donmar Warehouse had a lot to live up to. And Phyllida Lloyd's is another take to go for high-concept casting, this time an all-female version of the story. We still follow the conspiracy of Brutus (Harriet Walter,) Cassius (Jenny Jules) and a select group of Roman senators to assassinate the hugely popular Julius Caesar (Frances Barber) before his increasing political power leads him to tyranny. But we're now in a women's prison, where the inmates have been given permission to stage the play in the recreation room, and some of the cast are taking it all much more seriously than others.
Monday, 17 December 2012
Theatre review: In the Republic of Happiness
Sunday, 16 December 2012
Theatre review: The Architects
Saturday, 15 December 2012
Theatre review: The Orphan of Zhao
Friday, 14 December 2012
Theatre review: Feathers in the Snow
Thursday, 13 December 2012
Theatre review: The Shawl
the JMK winner, we now get the Genesis Future Director's Award winner, Ben Kidd. He brings an interesting dynamic to The Shawl, the short 1985 play in which David Mamet returns to his recurring theme of con-artists, this time looking at mediums whose comforting messages from the dead are entirely bogus - or are they? Kidd's production opens with a beautifully spooky touch: Merle Hensel's design sees chairs bolted down in a fairly haphazard-seeming in-the-round configuration, and as the audience take their seats a security camera's live images are shown on a number of TV screens, scattered around the cardboard boxes that line the walls. But when the play starts and Miss A (Denise Gough) enters, with some trepidation, for her first consultation with a psychic, the TV screens show her entering a deserted room, as if the audience are now spirits the cameras can't pick up.
Wednesday, 12 December 2012
Theatre review: Boy Meets Boy
Ian recommended Boy Meets Boy at Jermyn Street Theatre as a rather mental must-see, and I'm not one for resisting theatrical temptation so off I popped. The musical, with songs by Bill Solly and book by Solly and Donald Ward, was a 1975 off-Broadway hit, but written in the style of a 1930s golden age show with Americans in Europe, mismatched but made-for-each-other couples, a bunch of misunderstandings and a lead who thinks his love interest is two different people. The big conceit of the show though is that this is an alternate 1930s, where homosexuality is not just legal with complete equal marriage rights (giving the revival a bit of topicality as well) but considered so run-of-the-mill as to be completely unworthy of mention.
Tuesday, 11 December 2012
Theatre review: Privates on Parade
Posted by nick730 at 23:08 2 comments:
Labels: Angus Wright, Brodie Ross, Christopher Oram, Dennis King, Harry Hepple, John Marquez, Joseph Timms, Mark Lewis Jones, Michael Grandage, Peter Nichols, Sam Swainsbury, Simon Russell Beale
Monday, 10 December 2012
Theatre review: Kiss Me Kate
Sunday, 9 December 2012
Theatre review: Pack
Everyday Maps For Everyday Use well) where maths teacher Dianna (Denise Black) evidently doesn't get enough teaching in her day job, so holds a class on bridge for beginners in the evenings. Her students are Deb (Angela Lonsdale,) a brash widow who's gone up in the world since collecting her husband's life insurance; Stephie (Sarah Smart,) her slightly dim-witted friend; and Nasreen (Amita Dhiri,) a doctor Deb seems a bit sniffy towards at first. As we get to know the women in the ensuing weeks of card-playing, their outside lives start to encroach on their new friendships, as a BNP rally approaches and the politics of the women, as well as their husbands', come under the spotlight.
Theatre review: Everyday Maps for Everyday Use
The soundtrack as the audience enters is a selection of Bowie's more space travel-fixated songs, as the play is set in Woking, where HG Wells had the aliens first invade in The War of the Worlds, and Morton-Smith's characters' lives, ambitions and sexual inclinations are all in some way or other tied up with Mars; the play follows the various ways the six people's lives intertwine.
Saturday, 8 December 2012
Theatre review: Boris Godunov
Friday, 7 December 2012
Theatre review: Cinderella (Lyric Hammersmith)
things like this when they shared a flat. In a theatrical style that thrives on improvisation and corpsing, putting the two of them on stage together should be a fun recipe.
Thursday, 6 December 2012
Theatre review: Old Money
Tuesday, 4 December 2012
Theatre review: Hero
Monday, 3 December 2012
Theatre review: Stories from an Invisible Town
Sunday, 2 December 2012
Theatre review: Once Upon a Mattress
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