Theatre review: Jules and Jim

New Artistic Director Stella Powell-Jones makes her Jermyn Street directing debut with an adaptation of Henri-Pierre Roché's iconic French novel Jules and Jim, best-known for being adapted into a Truffaut film. It's not the kind of story that would necessarily attract me, but the stage adaptation is by Timberlake Wertenbaker, who doesn't usually steer me wrong. Well I knew it was going to be French, but surely nothing has any business being that French. Taking place in the first few decades of the 20th century, Jules (Samuel Collings) is a German visiting France to improve his French, where he meets Parisian Jim (Alex Mugnaioni,) his instant platonic soulmate. They discuss literature a lot and go on a grand tour to Greece, where they see a recently-excavated statue whose smile they say they would follow to the ends of the earth if it was a real woman.

Theatre review: Straight White Men

If Straight White Men are the demographic who've historically held all the power and are still trying to ensure things stay that way, Korean-American playwright Young Jean Lee's play of the same name is an outsider's perspective on what it might look like to have that power, or at the very least the assumption that it's a deserved birthright, eroded. In many ways Straight White Men is That American Play Where An Extended Family Gets Together After A Long Time, Preferably At Thanksgiving But That’s Optional, complete with the must-have accessory of a character who's a writer with one reasonably successful book under his belt, who teaches at a university for his day job and is struggling to write the second. Instead of Thanksgiving the occasion for this reunion is Christmas, and widower Ed (Simon Rouse) is excited to have all three of his adult sons back at home with him for a few days.

Re-review: King Lear (Shakespeare's Globe & tour)

When I saw the Globe's small-scale touring King Lear last year, the American teenagers sitting behind me were beyond thrilled to be seeing Geoffrey from The Fresh Prince of Bel-Air as the King. So it's apt that this year's tour will take in a number of US venues, as Joseph Marcell returns to Bill Buckhurst's production, and hopefully more teenagers will find a love of Shakespeare through a beloved figure from their childhood TV. I rarely return to a production unless it's outstanding, but the Globe feels like such a major part of my summer it tends to get a free pass, and although not perfect this Lear was good enough for another look. I did economise on the high prices by trying out the slightly cheaper, restricted view Gentlemen's Room seats; it was a good choice and I'll probably repeat it next year, as I avoided getting a seat too far round so didn't spend the whole time looking at the backs of the actors' heads.