Theatre review: Minority Report

I still have strong memories of the Lyric Hammersmith successfully translating science fiction to the stage with the striking Solaris a few years ago, so while it's a different creative team tackling Philip K. Dick, who inspired a number of the most successful sci-fi movies of all time, I was still optimistic that a venue willing to give the genre a chance would be a good choice to continue the experiment. Minority Report is quite a different proposition from the moody spookiness of Solaris, with the added challenges of a lot of action scenes, and Max Webster's production deals with them with varied - though mostly positive - results. But first, how to ensure future dystopia has the requisite dark cityscape of permanent rain? Adaptor David Haig has solved it by setting the story in London, so the view on stage isn't too different from the one out of the windows.

Theatre review: London Tide

With the exception of Oliver Exclamation Mark and umpteen Christmas Carols, the works of Charles Dickens (Chickens to his friends) have largely resisted the musical theatre treatment. Ben Power (book and lyrics) and PJ Harvey (music and lyrics) haven't been deterred by the idea that there might be a reason for this, so have tackled Our Mutual Friend, well-known among Dickens' novels as being... definitely one of them. Retitled London Tide, this stage version frames the story as being that of two women who never meet until the very end, but are both affected when a body is fished out of the Thames and identified as the missing heir to a dust fortune. From context I think that means dust as in a waste management firm, not Dark Materials. Bella Wilfer (Bella Maclean) had been due to marry the dead man despite never having met him, and is now suddenly considered a widow without ever having actually married or come into the inheritance.

Theatre review: Machinal

Richard Jones' production of Machinal was originally seen at the Theatre Royal Bath, something that's immediately apparent as Hyemi Shin's set clearly originates somewhere much smaller than the Old Vic: The sickly yellow wedge is very appropriate for conveying the claustrophobia of the story, a bit less ideal for the sightlines as it gets lost somewhere in the middle of the huge darkened stage, squeezed behind a pillar from where we were sitting*. Sophie Treadwell's 1928 play is considered a masterpiece of expressionism, something that's referenced in particular in the opening scenes as a young woman (Rosie Sheehy) travels on a packed New York subway train to her office, where her coworkers fuss and gossip about her being late. Adam Silverman's lighting throws their shadows onto the back walls to loom ominously over her.

Theatre review: The Cord

Writer-director Bijan Sheibani has worked with Irfan Shamji multiple times before, so you can see why he'd take advantage of that working relationship to cast the extraordinary actor in his latest play as well, putting him at the centre of an intense mental breakdown in The Cord. It's an evening that put me in mind of The Father, in the sense that it's a brilliant evening of theatre I'm glad I caught, but not necessarily one I'd want to put myself through again. Ash (Shamji) is a new father, whose wife Anya (Eileen O'Higgins) is still recovering from a birth with some complications, but apart from the inevitable lack of sleep is largely settling into her new life, and bonding with the baby. Ash seems to feel slightly excluded from their new group, but it's only after his mother Jane (Lucy Black) visits that this seems to tip over into a more serious mental condition.

Theatre review: An Actor Convalescing in Devon

Richard Nelson's An Actor Convalescing in Devon, about a Shakespearean actor who lost part of his jaw and soft palate to cancer and had to learn how to speak again, was written especially for Paul Jesson - a Shakespearean actor who lost part of his jaw and soft palate to cancer and had to learn how to speak again. The other elements of his story borrow from a variety of other sources and themes though, perhaps too many for a short monologue. Jesson's character, simply called The Actor, is waiting to board a train to Exeter and then on to a friend's country cottage for a long weekend. If he's going there to convalesce it's not so much from his physical illness though - while he was in hospital his partner and fellow actor Michael had a heart attack and, because he wasn't resuscitated quickly enough, suffered brain damage that left him confused about what was reality and what was a story he was performing in.

Theatre review: The Comeuppance

Like Appropriate, the last Branden Jacobs-Jenkins play I saw, The Comeuppance also takes a mainstay of American storytelling and gives it a gentle but noticeable tweak. This time it's the high school reunion, and the triumphs and disappointments that hang over people meeting again after years apart. Although in this case the people we meet have stayed in touch to varying degrees, and not just because these reunions have been happening every five years - the upcoming 20th anniversary is the first one successful artist Emilio (Anthony Welsh) has actually returned for, which may be part of the reason his old friendship group have decided to meet for a pre-reunion reunion. They meet on the porch of Ursula's (Tamara Lawrance) house: Having lost the grandmother who raised her and the sight in one eye in quick succession, Ursula has become somewhat reclusive, and isn't planning on following the others to the party itself.

Non-review: A Midsummer Night's Dream(Flabbergast / Wilton's Music Hall)

It's been a while since I decided I was better off cutting my losses and leaving a show at the interval (in fact this is my first time post-Panny D) but physical theatre company Flabbergast's take on A Midsummer Night's Dream did nothing to make me want to return. As a result I can't review the show as I didn't see all of it, but I can say the relentless clowning style of performance put me off from the start. The blurb says the company has a respectful approach to the text, and I'm sure they do, as the bombastic performance by whoever happens to be speaking it at any given time is generally accompanied by slapstick business inspired by the lines. In practice it means Oberon lays an egg at one point, and anything one of the rude mechanicals says or does is accompanied by a chorus of wailing, gossiping and clucking from the rest of them.

Theatre review: Underdog: The Other Other Brontë

They might not be quite up there with Jane Austen in terms of enthusiastic fanbases undimmed through the centuries, but the Brontë sisters probably come in a close second, so Underdog: The Other Other Brontë seems a fairly safe bet to be a hit. Sarah Gordon's play is narrated by Charlotte (Gemma Whelan,) the oldest sister and the last to survive, and therefore the one who gets to decide how the authors will be remembered by history. And if Gordon's version of her is to be believed, that's exactly how she would have wanted it. With their alcoholic brother Branwell (James Phoon) getting through the family's money at a rate of knots, Charlotte, Emily (Adele James) and Anne (Rhiannon Clements) are pragmatic enough to plan how to make their own money.

Theatre review: Gunter

Keeping the Royal Court busy in the brief perineum period between artistic directors' programmes, Dirty Hare's Edinburgh hit Gunter gets a transfer Upstairs: Created by performers Lydia Higman and Julia Grogan, and director Rachel Lemon, it's the story of a real Jacobean witch-hunt, a subject that's hardly unusual on stage. But while the prejudices and inequalities it highlights are familiar, the way the actual story plays out is full of twists. Opening with Michelle Alise's video design featuring archive clips of those insane traditional football matches where entire villages play against each other in the fields and streets, interspersed with clips of more recent riots and fights, it's hard to miss either the fact that these scenes are entirely male-dominated, or that they're virtually indistinguishable from each other.

Theatre review:Mind Mangler: Member of the Tragic Circle

While Mischief Theatre is still happily franchising around the world, its original cast have been doing more work separately since the TV show. Probably less of a big gossip-worthy falling out and more of a "The Play That Goes Wrong is celebrating a decade in the West End and they might fancy a change" thing, and the core writing trio of Henry Lewis, Jonathan Sayer and Henry Shields are still together for their latest show, a spin-off from Magic Goes Wrong: Mind Mangler: Member of the Tragic Circle has Lewis reprise his titular psychic for a full two hours. He's joined by Sayer as Steve the Stooge, the Mind Mangler's flatmate who comes out of the audience in a series of impenetrable disguises (a T-shirt that says "audience member" and later a T-shirt that says "different audience member") and still can't manage to help get the tricks right.

Theatre review: The Earthworks

Like the black holes that form in the Large Hadron Collider, shows in the Young Vic's Clare space are small in scale, and are pretty much over as soon as they've opened. The latest of these is Tom Morton-Smith's The Earthworks which takes place on the night before the Collider's official opening in 2008 - not at CERN itself, but in a Geneva hotel where various interested parties are staying. Most are asleep because they've got work to do in the morning, but journalist Clare (Natalie Dew) is up late in the hotel bar: The online science correspondent for a broadsheet, her actual speciality is biology, and she's being kept awake by wanting to understand the physics enough to write a proper article about it, not just rehash a press release like usual.

Theatre review: The Divine Mrs S

April De Angelis' The Divine Mrs S feels, in subject at least, like a successor to Jessica Swale's Nell Gwynn: Tracing the history of the original star actresses, we're in the Georgian era but the Restoration style of theatre still rules the London stage, and a woman can be the biggest draw and a genuine celebrity - and on acting talent alone this time, without the royal connection of her predecessor. Of course, having achieved her fame without a history of gossip and scandal, she's not immune to them once she's in the public eye. Rachael Stirling plays Mrs Sarah Siddons, member of the Kemble acting family, eclipsing her brothers in talent and popularity, but subject to the fickle moods of the papers and public that plague any woman who seems to be getting a bit too popular: Over the course of the evening we see how she can't win, and at the play's opening she's been criticised for returning to work too soon after her daughter's death.