Theatre review: The White Devil

The Swanamaker launched with The Duchess of Malfi and now returns to the convoluted plots of John Webster for The White Devil - a play that's always failed to make much of a lasting impression on me, and although well-done I don't think Annie Ryan's production will change that too much. Joseph Timms plays Flamineo, who's so sick of not being rich he's willing to pimp out his married sister Vittoria (Kate Stanley-Brennan) to the wealthy Duke of Brachiano (Jamie Ballard.) But Brachiano becomes so enamoured of Vittoria he has her husband and his own wife murdered so they can be together. It backfires when Vittoria is accused of the murders and sent to a home for repentant prostitutes. While the family try to get their good name back, the dead Duchess' brother Francisco (Paul Bazely) plots revenge on Brachiano and all those who helped him.

Theatre review: Bracken Moor

Alexi Kaye Campbell seems a writer who's not afraid to play around with genre. His latest play, Bracken Moor, premiering at the Tricycle in a co-production with Shared Experience, is a meditation on economics and empathy. Though Campbell's political view is rather heavy-handedly incorporated into the narrative (I tend to agree with him but still found it unsubtle,) the format he's come up with is something I've never seen attempted before: Bracken Moor frames its politics in a ghost story. It's 1936, there's a financial crisis, and Harold Pritchard (Daniel Flynn) owns a lot of land in Yorkshire, including a number of coal mines. Ten years ago his young son Edgar died rather gruesomely, and while Harold has carried grimly on, his wife Elizabeth (Helen Schlesinger) has become a nervous, guilty wreck, staying secluded in their big gloomy house, wishing for death. But a decade on she has finally conceded to a visit from her oldest friend Vanessa (Sarah Woodward) and her husband Geoffrey (Simon Shepherd,) who used to be regular guests.

Theatre review: Privates on Parade

Regular readers of this blog (both of them) will probably know not to expect too much in the way of sensible reviewing from my musings on Privates on Parade at the Noël Coward. Any poor unfortunates who've googled their way here in the hope of figuring out whether the show's worth seeing, I hope you enjoy disappointment, because here you go: The reason, of course, is that Privates on Parade is among other things notorious for how literally its title should be taken with regard to male nudity. And once it was announced that Big Favourite Round These Parts Sam Swainsbury would be in the cast, along with the not unwelcome additions of Joseph Timms and Harry Hepple, I basically spent the couple of months leading up to the show like a toddler who'd overdosed on Sunny Delight. Look, I'm just very, very sexually frustrated, OK? So the fact that, although the nudity remains, it's rather more coy than expected about flashing actual front bottoms, was a bit of a disappointment (people who saw previews tell me things were a bit more clearly on display then; maybe the West End audience clutched their pearls a bit too hard and it was toned down?)

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

It's far from being one of my favourite Shakespeares but The Taming of the Shrew has been cropping up a lot lately and now comes to Shakespeare's Globe in a production I was mostly looking forward to because Samantha Spiro would be taking on the role of Katherina. An incredibly tricky comedy to stage for a modern audience, it's one I always feel has to be overcome rather than simply interpreted. All the eligible bachelors of Padua are after the beautiful heiress Bianca, youngest daughter of Baptista. But before any of her suitors can win her hand, Baptista insists that his older daughter Katherina be married off first. This will be harder than it seems, as Katherina is famed for her bad temper. Enter Petruchio (Simon Paisley Day,) who says he'll not only marry the "Shrew" for her hefty dowry, but also tame her (through starvation and sleep deprivation) into the perfect wife.

Theatre review: Someone Who'll Watch Over Me

PREVIEW DISCLAIMER: Southwark Playhouse doesn't specify preview periods for its shows, but this review is of the second public performance.

When Jessica Swale comes to Southwark Playhouse it's usually to put her very distinctive stamp on Restoration comedy. This time though she returns for a darker theme, a 20th anniversary revival of Frank McGuinness' hostage drama Someone Who'll Watch Over Me. Simon Kenny's thrust set stabs out into the audience, and as we enter a triangle of black curtain shields the small basement room where American doctor Adam (Joseph Timms) and Irish journalist Edward (Billy Carter) are being held hostage in Lebanon. Soon they're joined by English university lecturer Michael (Robin Soans) and the three men build a friendship that rallies their spirits against their unseen captors.