Writing down what I think about theatre I've seen in That London, whether I've been asked to or not.
Thursday, 29 September 2022
Tuesday, 27 September 2022
Theatre review: The Wonderful World of Dissocia
Monday, 26 September 2022
Theatre review: The Snail House
Saturday, 24 September 2022
Theatre review: I, Joan
Posted by nick730 at 18:02 No comments:
Labels: Adam Gillen, Baker Mukasa, Charlie Josephine, Debbie Korley, Esmonde Cole, Glynn MacDonald, Ilinca Radulian, Isobel Thom, Janet Etuk, Jennifer Jackson, Jolyon Coy, Jonah Russell, Kevin McMonagle, Naomi Kuyck-Cohen
Thursday, 22 September 2022
Theatre review: Clutch
Jitney, stays behind the wheel for Will Jackson's Clutch in the Bush Theatre's Studio space. He plays avuncular driving instructor Max, who offers his new student the first lesson free and won't take it personally if he doesn't come back for more - he isn't to everyone's taste. Max's no-nonsense teaching style tends to border more on the loud and distracting, but Tyler (Charlie Kafflyn) sticks with him, and soon the seemingly timid young man relaxes and shows his cockier side as he starts to improve. Tyler's job is as a techie for touring bands; a driving license will help him get more work, and Max boasts of a 100% first-time pass record.
Tuesday, 20 September 2022
Theatre review: The Prince
Friday, 16 September 2022
Theatre review: Who Killed My Father
A View From the Bridge really made his name in this country, still occasionally gets the superstar director's work. In particular, it seems to be the home of English-language premieres of solo shows from some of his Internationaal Theater Amsterdam core ensemble members. A few years ago we saw Eelco Smits in Song From Far Away, now it's the turn of an actor often seen as a patrician figure in the company's work, showing a much more vulnerable side here: In van Hove's own adaptation of Who Killed My Father, Hans Kesting plays the book's author Édouard Louis, who confronts his dying father with the ways in which he traumatised him during childhood; but also with the political circumstances that led both to the father's early death, and the knock-on effect on the son.
Thursday, 15 September 2022
Theatre review: The P Word
Tuesday, 13 September 2022
Theatre review: The Clinic
Friday, 9 September 2022
Theatre review: Antigone
Legally Blonde the set was pink, for 101 Dalmatians it was made up of the characters in the show's title; so for the concluding production, Leslie Travers gives us the title of the show... in pink letters. The name Antigone is spelt out in graffiti-like letters that form a skate park, as Inua Ellams' adaptation of Sophocles is not just a modern-dress one but essentially a complete reworking of the myth. So we open at a London youth centre where Antigone (Zainab Hasan) volunteers, alongside sister Ismene (Shazia Nicholls) and brother Polyneices (Nadeem Islam.) Their oldest brother Eteocles (Abe Jarman) has recently joined the police, and after an introduction that sets up the siblings' contrasting personalities we skip forward a few years during which Polyneices disappears. It turns out he's gone to Syria where he's been radicalised; when he returns as part of a terrorist attack, both he and his brother end up dead on opposite sides of the conflict.
Posted by nick730 at 23:42 No comments:
Labels: Abe Jarman, Eli London, Inua Ellams, Leslie Travers, Max Webster, Michael 'Mikey J' Asante, Nadeem Islam, Oliver Johnstone, Pandora Colin, Sandy Grierson, Shazia Nicholls, Sophocles, Tony Jayawardena, Zainab Hasan
Thursday, 8 September 2022
Theatre review: Doctor Faustus
Salomé. Faustus (Jamie O’Neill) is an arrogant young academic who's decided he's exhausted all the knowledge available to him in books, and will cheat his way to learning the secrets of the universe: He employs a demon to be his servant, to answer any question he may have, and show him the wonders of the world. Mephistopheles' (David Angland) services, of course, come at the highest possible price: In return for 24 years of service, he gets Faustus to sell his soul to Lucifer (Candis Butler Jones.) Faustus manages to convince himself he doesn't believe in the afterlife anyway so it's a zero-risk gamble, until the deal is done and he has to face the consequences.
Tuesday, 6 September 2022
Stage-to-screen review: London Assurance
Phèdre still holds that title but another of the early NTLive screenings has recently joined it, giving me a chance to rewatch a show I remembered fondly, and see how well it held up. A far cry from Peloponnesian angst and bloody horse-related deaths (although they do have a bit of forbidden lust in common,) in 2010's London Assurance Nicholas Hytner revived the early hit for largely forgotten 19th century theatrical juggernaut Dion Boucicault. Boucicault's work generally hasn't stood the test of time, and tends to work best when radically reconceived or flat out parodied, and this too has needed some tinkering: In an ongoing collaboration that would have its most famous example the following year, Hytner got Richard Bean to do a thorough rewrite of the script.
Posted by nick730 at 21:45 No comments:
Labels: Dion Boucicault, Fiona Shaw, Junix Inocian, Mark Addy, Mark Thompson, Matt Cross, Michelle Terry, Nicholas Hytner, Paul Ready, Richard Bean, Richard Briers, Simon Russell Beale, stage to screen, Tony Jayawardena
Friday, 2 September 2022
Theatre review: Horse-Play
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