Theatre review: Slave Play

A play that had been causing a commotion in New York just before Covid caused a different kind, I'd been looking forward to Jeremy O. Harris' Slave Play, whose reputation for courting controversy with audacity preceded it. I don't know that it had done so to a wide enough audience to merit opening directly in the West End, but a bit of celebrity casting - and ensuring everyone knew the celebrity in question would be getting his parts out - must have made that seem like less of a gamble. While I try to avoid details about shows I haven't seen, I think the basic premise is pretty well known now - the fact that all the production photos come from the second act suggests the producers have given up on what's really going on in the first being a secret: We open on an antebellum plantation with slave Kaneisha (Olivia Washington) being brutalised by overseer Jim (Kit Harington.)

Theatre review: Absolute Hell

It takes a certain amount of confidence to call a play Absolute Hell, given the likelihood it’ll end up doing the reviewers’ job for them; of course Rodney Ackland’s 1945 play, not produced until 1952, was originally called The Pink Room, which is only going to result in people like me saying something vague and misinformed about vaginas, so maybe titles were just never his forte. Set shortly after VE Day and either side of the General Election that would put Labour in power, Absolute Hell takes place in the Vie En Rose Club, a private members’ bar run, nominally – her staff regularly grumble about doing all of the work for none of the credit – by Kate Fleetwood’s Christine. A seemingly gregarious hostess with a penchant for men in uniform who tends to get as drunk as any of her customers, she really cuts a painfully lonely figure who needs the club and its clientele to keep her from despair.

Theatre review: A Midsummer Night's Dream(Young Vic)

My first two Shakespeare productions of the year fell on consecutive nights, and while both are comedies they couldn't present more of a contrast, even before I got to their respective theatres: Where I'd been looking forward to Twelfth Night, last year saw A Midsummer Night's Dream even more overexposed than usual, so I was approaching it with some trepidation. Added to that was the publicity promising a particularly dark approach to the play, a cliché that can usually be taken as meaning "we failed to actually make it funny," and in any case the nightmare flipside of the Dream is frequently-explored territory. In the runup to a royal wedding Hermia (Jemima Rooper) and Lysander (John Dagleish,) whose love is forbidden, escape the threat of death by fleeing to the forest. They're pursued by Demetrius (Oliver Alvin-Wilson,) in love with Hermia, and Helena (Anna Madeley,) in love with Demetrius.

Theatre review: The Taming of the Shrew (Shakespeare's Globe)

This year is the centenary of Ireland's 1916 Easter Rising, the setting Caroline Byrne has chosen for her production of The Taming of the Shrew; it's the only reason I can see for a season with a "Wonder" theme to include a play that's short of that quality on pretty much every front. Byrne's all-Irish cast are led by Aoife Duffin as Katherine, the eldest daughter of wealthy Padua merchant Baptista Minola (Gary Lilburn,) notorious for her violent temper. Her younger sister Bianca (Genevieve Hulme-Beaman,) on the other hand, is famed for both beauty and a pleasant personality and has numerous suitors, but they'll all have to wait as Baptista has decided that a husband has to be found for the elder daughter first. The suitors need someone to take that bullet and Petruchio (Edward MacLiam) sees her hefty dowry as reason enough to take her on.

Theatre review: The Win Bin

A satire on arts funding cuts takes a surreal turn in Kate Kennedy and Sara Joyce's The Win Bin: There is now only enough cash for one person a year to get a job in the arts, and it's to be decided by a behind-closed-doors mix of interview day and talent show. After a series of preliminary rounds - which may or may not have involved Rock, Paper, Scissors - six finalists have been found, all played by Kennedy and Wilf Scolding. The three men and three women pair off after a while: A photographer's project documents his life after being dumped; it turns out the ex-girlfriend in question is another of the candidates, a highly-strung puppeteer. An unprepared but charming choreographer flirts with a comic book artist - but is he just trying to put her off? We don't see much of the third pair - whose talents appear to be taxidermy and "trying to put her whole fist into her mouth" - they cower nervously in a corner while the other four implode.

Theatre review: Bears in Space

Bears in Space has been doing good business at Soho Theatre thanks to strong word of mouth. LOL no, not really, it's because the cast includes Jack Gleeson, who's been quoted as saying he might give up acting, so for any Game of Thrones fans trying to see as many cast members as possible on stage, this might be the only opportunity to collect Joffrey. It has, though, been getting all that positive word of mouth, and it's not surprising as fans of all things silly will find a lot to love here. Gleeson stars alongside Aaron Heffernan, Cameron Macauley and Eoghan Quinn* in a story about two elderly cosmonaut bears in the distant future, left to fend for themselves when their captain is quarantined in stasis. A Russian polar bear (Quinn) assumes the captain's role of investigating a mysterious nearby planet.