Theatre review: Machinal

Richard Jones' production of Machinal was originally seen at the Theatre Royal Bath, something that's immediately apparent as Hyemi Shin's set clearly originates somewhere much smaller than the Old Vic: The sickly yellow wedge is very appropriate for conveying the claustrophobia of the story, a bit less ideal for the sightlines as it gets lost somewhere in the middle of the huge darkened stage, squeezed behind a pillar from where we were sitting*. Sophie Treadwell's 1928 play is considered a masterpiece of expressionism, something that's referenced in particular in the opening scenes as a young woman (Rosie Sheehy) travels on a packed New York subway train to her office, where her coworkers fuss and gossip about her being late. Adam Silverman's lighting throws their shadows onto the back walls to loom ominously over her.

Theatre review: Lady Anna All At Sea

Anthony Trollope's Lady Anna proved a controversial novel in its story that argued against keeping the classes apart for no other reason than the accident of birth. It centres around the disputed will of the recently-deceased, apparently deeply unpleasant Earl Lovel, whose title passes to the next male heir, distant nephew Frederick (Adam Scott-Rowley.) But this honour comes without any of the usual financial advantages, because the old Earl had a secret family, and Countess Lovel (Caroline Langrishe) has spent much of her life fighting to have her title acknowledged. However the marriage is judged legal, and when she comes of age her daughter Lady Anna (Antonia Kinlay) stands to inherit all the money and lands. The lawyers can't untangle the contesting claims, but a marriage between Frederick and Lady Anna would unite title and money again to almost everyone's satisfaction.