Writing down what I think about theatre I've seen in That London, whether I've been asked to or not.
Friday, 28 October 2022
Thursday, 27 October 2022
Theatre review: Something in the Air
Cruise, although its focus is slightly different: Part of the theme of those stories has been the generation of queer elders who barely exist because of the pandemic of the 1980s and '90s wiping them out, but Something in the Air brings us a pair of men who've survived into old age and, with the rest of their community long-gone, have found some comfort in each other. Colin (Ian Gelder) and Alex (Christopher Godwin) live in the same retirement home where they've become friends and, to the consternation of Alex's son Andrew (Andrew Woodall,) have started holding hands while they sit in their armchairs. Colin's niece Clare (Claire Price) is more sanguine about it, and in fact has some news for Andrew: The pair have asked to be moved into the same room, but as they're not always lucid, it needs to be run by their families.
Saturday, 22 October 2022
Theatre review: The Solid Life of Sugar Water
Thursday, 20 October 2022
Theatre review: My Neighbour Totoro
Posted by nick730 at 23:11 No comments:
Labels: Ai Ninomiya, Ami Okumura Jones, Basil Twist, Dai Tabuchi, Haruka Abe, Hayao Miyazaki, Jacqueline Tate, Joe Hisaishi, Kimie Nakano, Mei Mac, Nino Furuhata, Phelim McDermott, Tom Morton-Smith, Tom Pye
Tuesday, 18 October 2022
Theatre review: The Canterville Ghost
Monday, 17 October 2022
Theatre review: Ravenscourt
Saturday, 15 October 2022
Theatre review: John Gabriel Borkman
a short, heavily rewritten, monologue adaptation. It can't be topicality that's the problem - given that the title character is a corrupt, arrogant banker, you could theoretically have a production of it playing somewhere in the world 24/7 and guarantee the famous phrase "timely revival" got chucked at it. It does, however, conform to all the stereotypes about Ibsen's work being dark, moody and bleak. JG Borkman (Simon Russell Beale,) once a financial giant, was convicted of embezzlement. He spent five years in prison and, since his release, a further eight years essentially under self-imposed house arrest. In the first act, all we know of him is the sound of him relentlessly pacing his room.
Posted by nick730 at 17:23 No comments:
Labels: Anna Fleischle, Clare Higgins, Daisy Ou, Henrik Ibsen, Lia Williams, Liam Bunster, Lucinda Coxon, Michael Simkins, Nicholas Hytner, Ony Uhiara, Sebastian De Souza, Simon Russell Beale
Thursday, 13 October 2022
Theatre review: The Band's Visit
Come From Away, but bearable?" Based on an Israeli film, this also features unexpected visitors to a sleepy town, but in a much more low-key way: In 1996, the Alexandria Ceremonial Police Orchestra travel from Egypt to Israel to perform at an Arabic culture festival in the bustling city of Petah Tikva. But a mixup at the airport leads to them getting the bus to Bet Hatikva, a tiny, sleepy town in the middle of nowhere. By the time they realise their mistake they're already there, and the next bus back to the city isn't until the next day. There's no hotel, so café owner Dina (Miri Mesika) takes in conductor Tewfiq (Alon Moni Aboutboul) and trumpet player Haled (Sharif Afifi) herself, and arranges for other locals to find space for the rest of the band for the night.
Tuesday, 11 October 2022
Theatre review: The Boy With Two Hearts
Friday, 7 October 2022
Theatre review: Brown Boys Swim
Thursday, 6 October 2022
Theatre review: Eureka Day
Tuesday, 4 October 2022
The Milk Train Doesn't Stop Here Anymore
The Wikipedia page for this 1963 meditation on mortality and grief, thought to have been written in response to the terminal illness of his long-term partner, is essentially a list of how many times Williams wrote it, and it tanked, rewrote it, and it tanked worse, rewrote it as a film, and it tanked globally. But as well as simply wanting to tick another title off the list, there's always the hope that someone will do a Summer and Smoke, and reveal an almost-forgotten work as a misjudged classic with a revelatory production. Robert Chevara's take on The Milk Train Doesn't Stop Here Anymore at Charing Cross Theatre is not that production.
Monday, 3 October 2022
Theatre review: Jews. In Their Own Words.
Rare Earth Mettle was meant to feature a shifty billionaire called Hershel Fink. Having seen the play, I'd say playwright Al Smith was probably going for something with the vague cadences of "Elon Musk," but he actually landed on a hugely stereotypical Jewish name, paired with an equally stereotypical moneybags character. When the play opened in previews and caused offence, the name was changed, but further controversy came with reports that some people had highlighted the connotations and been ignored.)
Posted by nick730 at 22:06 No comments:
Labels: Alex Waldmann, Audrey Sheffield, Billy Ashcroft, Debbie Chazen, Hemi Yeroham, Jonathan Freedland, Louisa Clein, Rachel-Leah Hosker, Steve Furst, Tracy-Ann Oberman, Vicky Featherstone
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