Theatre review: The Circle

A play full of references to the ravages of ageing could be taken as a bit of an on-the-nose way for a new Artistic Director to introduce himself to the Orange Tree's regular audience, but Tom Littler's debut production seems to have gone down well enough this afternoon. During Paul Miller's tenure the theatre helped subsidise its risky new writing scheduling with regular crowd-pleasing revivals, with a particular focus on Shaw and Rattigan. For his opening salvo Littler goes for Somerset Maugham, and the 1921 romantic comedy-drama The Circle. Arnold (Pete Ashmore) never really knew his mother, who left his father Clive (Clive Francis) and ran away with his best friend. But Arnold's wife Elizabeth (Olivia Vinall) has learnt that Lady Kitty (Jane Asher) and Lord Hughie Porteus (Nicholas Le Prevost) have returned to England after thirty years in France.

Theatre review: What Shadows

I can’t wait until a time when I can go months without seeing a play about a dark chapter in history, and finding it painfully relevant to the present day. We’re not there yet though, and so Roxana Silbert transfers her Birmingham production of What Shadows to the Park Theatre, in which playwright Chris Hannan looks at one of the most notorious instances of a British politician fanning racism. After decades playing Emperor Palpatine Ian McDiarmid is about as qualified as you can get to play Enoch Powell, the Conservative politician whose hate-filled “Rivers of Blood” speech in Birmingham made him a by-word for racism. In 1967, with the Tories in opposition, Powell starts to see himself on the one hand as the man to get them into power, and on the other marginalised by his own party, who view him as a crank who gives shit-stirring populist speeches to regional Conservative clubs.

Theatre review: Winter Solstice

As has become increasingly apparent over the last few years, the rest of the world doesn't seem to think Gemany might have any insights on fascism worth listening to. But the Germans, bless them, keep trying, with the latest warning coming from Roland Schimmelpfennig, whose Winter Solstice comes to the Orange Tree in a translation by David Tushingham. An upper middle class couple in a household we're told has never voted for a conservative party, Bettina (Laura Rogers) is a director of arthouse films nobody particularly wants to watch, while her husband Albert (Dominic Rowan) is a popular historian who's written a number of hit books. Both are having affairs, Bettina with Albert's best friend Konrad (Milo Twomey,) and the family tensions are particularly fraught as they wait for Bettina's mother to arrive.

Theatre review: How The Other Half Loves

It's a phenomenon that's already certain to turn up in my theatrical memes of the year, and one nobody will be looking back on fondly: Theatres' insistence on programming long shows without an early start time to compensate for it. Adding its name to the National, Almeida and, worst offender, the Old Vic, the Theatre Royal Haymarket joins in with what seems almost spiteful scheduling: At just over two and a half hours, How The Other Half Loves is just longer-than-average rather than an epic, but an inexplicable 7:45pm start time makes sure nobody gets home before 11pm - if they're lucky. That unwelcome slice of 2016 aside, it's like any other year: If it's spring there must be an Alan Ayckbourn revival somewhere, and Memorable Actor Matthew Cottle must be in it. Vanessa loves Ayckbourn so she always gets an early birthday present she'll like, even if my own feelings about his work are more variable.

Theatre review: Love for Love

In the prologue to William Congreve's Love for Love Angelica (Justine Mitchell) promises all sorts of fun over the next few hours on the stage then ends by saying that, for the more discerning audience member, they'll even throw in a plot. Well there's lots of fun moments on the Swan's stage but calling what happens an actual plot might be stretching the term to breaking point. We're in Restoration Comedy territory, in genre if not historically, as the play premiered in Queen Anne's time and - in a nod to Helen Edmundson's play that will be in rep later in the season - Queen Anne herself is in the audience: In one of many fourth wall-breaking touches, an audience member gets to wear the crown (this afternoon's Queen was clearly thrilled to be chosen as she kept it on throughout.)

Theatre review: Man and Superman

Simon Godwin seems to be the director the National Theatre immediately thinks of when there's a very long play to be staged at the Lyttelton - a couple of years ago he took on Strange Interlude, which was pretty strange but far from a mere interlude; now it's Bernard Shaw's Man and Superman, a play so hefty its third act is usually omitted entirely. Not here though, as Ralph Fiennes leads a modern-dress production that comes in at over three-and-a-half hours. Fiennes plays Jack Tanner, a radical author notoriously fond of the sound of his own voice, and particularly prone to diatribes against marriage. There's plenty of these when he and Roebuck Ramsden (Nicholas Le Prevost) are unexpectedly made joint guardians of an old friend, the heiress Ann Whitefield (Indira Varma,) and Jack has much to say against his smitten friend Octavius' (Ferdinand Kingsley) hopes to propose to her. In fact it's Jack himself Ann has her eye on, and he's willing to go a long way to avoid that.

Theatre review: The Rivals

The most popular of late Restoration comedies, Sheridan's The Rivals follows the titular suitors for the hand of wealthy Bath heiress Lydia Languish (Jenny Rainsford.) The two most significant candidates are actually the same person: Jack Absolute (Iain Batchelor) has the approval of his father Sir Anthony (Nicholas Le Prevost) and of Lydia's guardian, her aunt Mrs Malaprop (Gemma Jones.) Lydia, though, is a fan of the new florid romantic novels, and won't be satisfied by a romance without a bit of danger in it. So Jack knows the only way to her heart is to pose as the lowly Ensign Beverley and promise her a scandalous elopement. Meanwhile the bumbling country gentleman Bob Acres (Justin Edwards) believes he has a chance with the heiress, as does Sir Lucius O'Trigger (Adrian McLoughlin,) who has letters to prove it - in fact O'Trigger's secret admirer isn't Lydia but her aunt.