Radio review: Love and Information

Back to my occasional reviews of radio adaptations of stage work, where BBC Radio 3's recent production of Love and Information is the first audio adaptation, and 12 years seems like a surprisingly long time to wait to give it that treatment: After all, Caryl Churchill's 2012 play is an experiment in form that requires all kinds of resources for a live revival, that are a lot easier to get around on radio, where sketch shows are common. And that's essentially the format Churchill used for this play, whose cast very quickly run their way through more than a hundred characters in over fifty scenes that are rarely as long as two minutes, and can be as short as a single sneeze. As an audience member, one advantage this has is that I was able to focus entirely on the scenes and not the staging - I remember the original production at the Royal Court as being brilliant, but it was impossible not to be slightly distracted by the impressively slick scene changes.

Theatre review: Othello (Sam Wanamaker Playhouse)

Interesting times to be visiting the Globe, the venue that can do everything except draft a press release that doesn't dig them into a deeper hole. Ola Ince is looking like one of those directors who can reinvent a Shakespeare play to fit a very specific modern-day issue, and actually follow through with the idea. After her 2021 Romeo & Juliet was filtered through the way Tory cuts would have caused every beat of the story, her Othello in the Swanamaker becomes about racism in the Metropolitan Police, and some of the language is modified to match this setting: Othello is no longer referred to as the General but the Guvnor, Desdemona is usually called Desi, one of the story's inciting incidents now involves Othello choosing an Eton old boy as his new Inspector rather than a more experienced cop, and instead of a military action from Venice to Cyprus, the characters from Scotland Yard are going on an undercover cartel bust in Docklands.

Theatre review: Oil

PREVIEW DISCLAIMER: Once again I don't remember specifically booking a preview but it looks like the professional critics are in tomorrow.

Ella Hickson's plays have been steadily growing in size and scope, and Oil at the Almeida sees her take on not just a global issue but an epic story that spans centuries. In 19th century Cornwall, May (Anne-Marie Duff) lives on her husband's remote farm, a hand-to-mouth existence but she's genuinely in love with her husband Joss (Tom Mothersdale,) and the fact they can't keep their hands off each other makes it no surprise that she's pregnant. But when William Whitcomb (Sam Swann) arrives from America with a ridiculously generous offer to buy the farm as a UK base for his kerosene business, Joss turn him down and May can't forgive his lack of ambition. She steps out into the snow and on a journey that now takes on a surreal note. Because in the style of Caryl Churchill's Cloud Nine, a few years pass for May, but many more pass in the world around her.

Theatre review: Pomona

A huge amount of Twitter buzz saw me make a last-minute trip to Richmond for Alistair McDowall's wildly surreal Pomona, a mix of urban thriller, epic fantasy quest and Lovecraftian horror. Ollie (Nadia Clifford) is searching for the identical twin sister who vanished some weeks earlier. There's also been a number of disappearances at the brothel where Fay (Rebecca Humphries) fled to after her policeman husband abused her. Both mysteries may find a solution in Pomona, a concrete island in the middle of Manchester isolated by canals and defunct train lines. Nobody seems to quite notice Pomona is even there, but just in case anyone gets curious the gangsters who make mysterious deliveries there have hired Moe (Sean Rigby) and Charlie (Sam Swann) as security guards. But their boss Gale (Grace Thurgood) now wants them to take a more hands-on role in the business.

Theatre review: Wendy and Peter Pan

Peter Pan gets a feminist makeover from Ella Hickson in the latest RSC family show, but there's also a definite hint of Philip Pullman being thrown in with the J.M. Barrie in Wendy and Peter Pan. And before we even get to these new underlying themes there's a new look to the Darling family right from the start: As well as Wendy, John and Michael, there's a fourth child, Tom (Colin Ryan.) But even as he plays with his sister and brothers he has a nasty case of Period Drama Cough that soon sees Tom dead, and the Darling family plunged into melancholy. A year later, a flying boy enters the children's bedroom and invites them to Neverland. Hearing that that's where the Lost Boys live, Wendy agrees to join Peter Pan on his adventures, believing she'll be able to find their own lost boy there too.

Non-review: Playwright's Playwrights - Abide With Me

In the series' third week it's Roy Williams' turn to choose his "playwright's playwright," and he opts for Barrie Keeffe, whose work he says showed him that theatre was the right medium for him to tell stories of working-class people. Williams directs a rehearsed reading of Abide With Me, the middle play of Keeffe's 1977 Barbarians trilogy. The turnout this afternoon at the Duke of York's was better than for the first play, but unsurprisingly not on a par with last week's invasion of Cumberfans. Of course, for the sort of people who booked these readings long before the casts were announced, today's lineup of Daniel Kaluuya and Sam Swann is starry enough anyway. (The third cast member, Morgan Watkins, I don't think I've seen on stage before, although his face seems familiar from TV - I'm pretty sure he was in the most recent series of Silk.)