Writing down what I think about theatre I've seen in That London, whether I've been asked to or not.
Saturday, 28 March 2020
Saturday, 21 March 2020
Stage-to-screen review: An Ideal Husband
Marquee TV is one I only heard of recently, and which seems to lean heavily on the side of opera and dance, so its theatre offerings consist almost entirely of shows I've already seen. Their library does include almost all of Classic Spring's Oscar Wilde season from 2017-18 at the Vaudeville, including one installment I skipped at the time, An Ideal Husband. Jonathan Church directs a Wilde play with a more overtly political slant than most.
Posted by nick730 at 18:59 No comments:
Labels: Edward Fox, Faith Omole, Frances Barber, Freddie Fox, Howard Harrison, Joanna van Campen, Jonathan Church, Nathaniel Parker, Oscar Wilde, Rebecca Charles, Sally Bretton, Simon Higlett, stage to screen
Saturday, 14 March 2020
Theatre review: The Mikvah Project
its premiere, when I was interested but not entirely convinced by it. But I've got a certain reputation to live down to as far as plays with extensive male nudity go and besides, I wanted to know if a different perspective would make it feel a bit more focused than it seemed last time. And Georgia Green's production - her professional debut, following its appearance last year as part of an Orange Tree new directors' showcase - does go some way towards filling in some gaps. The Mikvah is a Jewish ritual bath, more commonly used by women, but there are ones available for men as well, like the pair in Josh Azouz' play who meet there every Friday for particular reasons of their own. 35-year-old Avi (Alex Waldmann) goes to pray for the child he and his wife are trying to conceive (or as he puts it, he's praying to his balls.)
Friday, 13 March 2020
Theatre review: Love, Love, Love
Tuesday, 10 March 2020
Theatre review: Women Beware Women
Saturday, 7 March 2020
Theatre review: The Revenger's Tragedy
(La tragedia del vendicatore)
The Duchess of Malfi was, I couldn't help but be sorry that it did away with my second favourite ridiculous Jacobean revenge tragedy murder (death by poisoned Bible.) My actual favourite ridiculous Jacobean revenge tragedy murder (death by poisoned skull) appears in Thomas Middleton's The Revenger's Tragedy; would I be similarly disappointed? No of course not, because this is Cheek by Jowl's annual visit and Declan Donnellan and Nick Ormerod are more likely to add their own insane fuckery to a play than get rid of what's already there. Not content with having English, French and Russian companies on the go, they've teamed up with Piccolo Teatro di Milan to create their first Italian-language show. And aptly enough Italy is the setting for a play that goes out of its way to live up to its no-nonsense title's promise of revenge, and lots of it.
Posted by nick730 at 23:06 No comments:
Labels: Christian Di Filippo, David Meden, Declan Donnellan, Fausto Cabra, Flavio Capuzzo Dolcetta, Ivan Alovisio, Marta Malvestiti, Nick Ormerod, Pia Lanciotti, Raffaele Esposito, Stefano Massini, Thomas Middleton
Friday, 6 March 2020
Theatre review: La Cage aux Folles [The Play]
the obvious suspect - announcements in the last couple of weeks have suggested that Joe diPietro alone is going to be flinging a hell of a lot of insanity at stages both sides of the Atlantic over the next few months. But then there's the other extreme, where a musical adaptation has worked so well it's overshadowed the original: The Jerry Herman / Harvey Fierstein musical is what comes to mind when you hear La Cage aux Folles, to the extent that Park Theatre have felt it best to append [The Play] to the title, to clarify that Simon Callow's new version is based on Jean Poiret's original French farce. Any songs that show up are going to be lip-synced because the title refers to a drag club run by Georges (Michael Matus) in early 1970s St Tropez.
Wednesday, 4 March 2020
Theatre review: Trainers, Or The Brutal Unpleasant Atmosphere Of This Most Disagreeable Season
(A Theatrical Essay)
Monday, 2 March 2020
Theatre review: A Number
Roger Allam and Colin Morgan have worked together in ersatz father/son roles before. And despite the genetic material there’s something ersatz about the father/son relationships they play out in A Number as well – I told the people I went to the show with to go in knowing as little about it as possible, and would recommend that to anyone planning on seeing it; in which case save this review until after you’ve been as well, as it’s a hard play to write about without major spoilers.
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