Writing down what I think about theatre I've seen in That London, whether I've been asked to or not.
Saturday, 29 February 2020
Theatre review: Pretty Woman
Thursday, 27 February 2020
Theatre review: Be More Chill
Loserville and Little Shop of Horrors. Alarmingly skinny video game geek Jeremy (Scott Folan) seems happy enough with his status as a loser who'll come into his own when he gets to college, but when the bullying gets too much for him and even Christine (Miracle Chance,) the oddball girl he likes, falls for a jock (Miles Paloma,) Jeremy becomes desperate enough to try anything to become more popular.
Posted by nick730 at 23:09 No comments:
Labels: Blake Patrick Anderson, Christopher Fry, Eloise Davies, James Hameed, Joe Iconis, Joe Tracz, Miles Paloma, Millie O’Connell, Miracle Chance, Renée Lamb, Scott Folan, Stephen Brackett, Stewart Clarke
Wednesday, 26 February 2020
Theatre review: & Juliet
Posted by nick730 at 23:11 No comments:
Labels: Arun Blair-Mangat, David Bedella, David West Read, Grace Mouat, Jordan Luke Gage, Kirstie Skivington, Luke Sheppard, Max Martin, Melanie La Barrie, Oliver Tompsett, Paloma Young, Soutra Gilmour, Tim Mahendran
Tuesday, 25 February 2020
Theatre review: Far Away
Monday, 24 February 2020
Theatre review: Pass Over
some actual Beckett again. Antoinette Nwandu's play about the ongoing epidemic of black Americans being shot by police turns the pair of tramps into homeless African-Americans living under a railway bridge, their inability to move from the spot not down to abstract existential dread but the very specific knowledge that anyone who tries to get away gets gunned down. Paapa Essiedu plays Moses, whose name, like the play's title Pass Over, references the other overt influence on Nwandu's play, the biblical book of Exodus, and while Moses himself often despairs, his friend Kitch (Gershwyn Eustache Jnr) has faith that he can lead his people to a Promised Land.
Sunday, 23 February 2020
Theatre review: No Sweat
Saturday, 22 February 2020
Theatre review: The Whip
Posted by nick730 at 22:14 No comments:
Labels: Bridgitta Roy, Ciaran Bagnall, Corey Montague-Sholay, Debbie Korley, Juliet Gilkes Romero, Katherine Pearce, Kimberley Sykes, Michael Abubakar, Nadi Kemp-Sayfi, Riad Richie, Richard Clothier, Tom McCall
Thursday, 20 February 2020
Theatre review: Nora: A Doll's House
whose last production of it feels comparatively recent in the scheme of things, is back at it with a production first seen in Glasgow last year. Ibsen's play is a proto-feminist story whose heroine finding her strength and identity caused a scandal in its day, and rather than present it as written or relocate it to a single new setting Stef Smith's version attempts to see just how much Nora's story would change over the course of a century. The retitled Nora: A Doll's House casts three versions of its leading lady: Amaka Okafor is 1918 Nora, a dutiful housewife still feeling some of the thrill of being allowed to vote for the first time. Natalie Klamar is 1968 Nora, a pill-popping mother of three idly, or not so idly wondering how her life might be different if the Pill and legal abortions had come along just a little bit sooner. And Anna Russell-Martin is Nora in 2018, propping up a family who've been living on credit.
Tuesday, 18 February 2020
Theatre review: The High Table
opened with a commitment to telling the stories of queer women of colour, a theme that's revisited in the latest main-house show as actor Temi Wilkey's playwrighting debut The High Table follows the preparations for a British-Nigerian lesbian wedding. It's an event the family are going to have a lot to say about - and not just the living family. Tara (Cherelle Skeete) introduces her parents Segun (David Webber) and Mosun (Jumoké Fashola) to her fiancée Leah (Ibinabo Jack) for the first time three months before the wedding. They've been together for some time and engaged for nine months at this point, so the fact that Tara has put it off for so long suggests she's worried about their reaction. And while they, in theory, accepted her coming out as bisexual a few years earlier, this confirmation that their daughter won't settle down with a man after all makes them show their true colours, and they refuse to attend the wedding.
Monday, 17 February 2020
Theatre review: Death of England
Saturday, 15 February 2020
Theatre review: The Visit, or,
The Old Lady Comes To Call
Angels in America was a transatlantic success for the National Theatre twice over, it's no surprise if they're keen to bring Tony Kushner back to their stages; the Olivier this time, and instead of an original story it's for an adaptation of Friedrich Dürrenmatt's obscure 1956 play The Visit, or, The Old Lady Comes To Call; but one thing that definitely hasn't changed is Kushner's determination that, once he's got the audience through the doors, he's going to keep them there as long as humanly possible. And while it doesn't fly quite as far into the realms of magic realism as his most famous work, this play - essentially an extended fable on debt of many different kinds - is full of oddities. It takes place over a few days in 1955 in the town of Slurry, New York State, once a manufacturing hub but now collapsing, its various businesses sold up to unseen buyers and liquidated years ago, and now reduced to selling the church bells for scrap metal.
Posted by nick730 at 18:03 No comments:
Labels: Friedrich Dürrenmatt, Hugo Weaving, Jason Barnett, Jeremy Herrin, Joseph Mydell, Joshua Lacey, Lesley Manville, Michael Elcock, Nicholas Woodeson, Sara Kestelman, Stuart Nunn, Tony Kushner, Vicki Mortimer
Thursday, 13 February 2020
Theatre review: Leopoldstadt
Monday, 10 February 2020
Theatre review: The Haystack
Saturday, 8 February 2020
Theatre review: Endgame / Rough for Theatre II
Thursday, 6 February 2020
Theatre review: Time and Tide
PREVIEW DISCLAIMER: The press officially get invited tomorrow; I could only fit in a trip to this during the preview period.
Wednesday, 5 February 2020
Theatre review: The Welkin
Chimerica for TV Lucy Kirkwood returns to the stage for a play that feels equally epic in ambition, even if instead of spanning continents this one is largely set in a single room. It does have its thoughts on the stars though, as The Welkin takes place in Suffolk in 1759, the year in which Edmond Halley had predicted the comet that would eventually bear his name would appear. It's a scientific discovery that's captured the imagination of people even in remote, small towns like this one, with everyone regularly mentioning it, hoping they might catch a glimpse of the celestial body. But if human knowledge is expanding to include the heavens, women like midwife Lizzy Luke (Maxine Peake) find that progress closer to home is much slower than they would like. Summoned grudgingly away from her laundry, Lizzy's expertise has had her requested by a local judge to take part in one of the few areas of Georgian law left to the judgement of women.
Posted by nick730 at 23:25 No comments:
Labels: Aysha Kala, Bunny Christie, Cecilia Noble, Hara Yannas, Haydn Gwynne, James Macdonald, Jenny Galloway, June Watson, Lucy Kirkwood, Maxine Peake, Philip McGinley, Ria Zmitrowicz, Wendy Kweh
Saturday, 1 February 2020
Theatre review: The Sugar Syndrome
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