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Showing all Performing Arts news in Reviews
FEAR OF QUEER: It was an ensemble piece where every player performed well and, although this review has only mentioned two for simplicity, everyone involved gave a fantastic performance. It was clear that the play had been rehearsed for a long time.
BLASTED: has not been performed in London for nearly a decade but with Sean Holmes’ production at the Hammersmith Lyric it seems it has finally found a suitable home with a terrific cast to boot. Let’s just hope that this play continues to amass the recognition it rightly deserves.
BLOOD AND GIFTS: The impressive play script is animated magnificently by a stellar cast. The lead is the largely unflappable and shrewd American CIA agent, James Warnock (played by Lloyd Owen), whose Achilles heel is his problematic belief that “doing the right thing” should be fundamental to US foreign policy.
DEATHTRAP: Rob Howell’s set design is truly terrific. The staggered geometry of the one room in which all the action takes place is incredibly well thought-out and with Bruhl’s festoonery of weapons all menacingly placed above the action, adding tension to the piece.
KRAPPS LAST TAPE: Beneath its deceptively superficial exterior the play is the most poignant of Beckett’s oeuvre – full of autobiographical allusions – and a complex and cathartic treatise on the relationship of memory to self and the (quite literal) cyclical nature of existence.
BROKEN GLASS: The ‘political’ in Miller, and all good playwrights, is expressed on the stage through the decisions certain people make when faced by certain obstacles in certain environments. It is achieved through human behaviour, in other words – the true medium of expression of the theatre. It is not achieved by crowbarring thinly-veiled manifestos into the characters’ verbal exchanges nor by m
DEPARTURE LOUNGE: Why do we say gay, what really happened that Thursday evening on a pub crawl night out in Malaga and how can a picture book replace a family? Spotlight on a group of young school leaver Brits on tour stuck in a Spanish departure lounge due to flight delays. As their boozing and bonking boys’ holiday comes to an end and they anticipate their A-level results, JB, Pete, Jordan and R
LES MISERABLES: It’s worth the ticket price just to hear Owen Jones sing ‘Bring Him Home; and if you aren’t, at the very least, blinking furiously by the end then make an appointment at your local hospital to get the stone surgically removed from the place where your heart should be.
THE EAR OF A DRUNKEN MAN: The songs are short, melodic but pared-down, bleak but ultimately hopeful. It’s an intense and deeply personal affair, but somehow it’s also very accessible.
OLIVIER THEATRE: Toby Stephens is at his imperious best as the swaggering, eponymous hero while Eliot Levey very nearly steals the whole thing with his complex, compelling portrait of a sociopathic Robespierre.
REGENTS PARK: A musical amalgamation of fairy tale characters in which Red Riding Hood encounters Cinderella, Rapunzel, a witch and a bigger, badder Wolf than most of us will remember from childhood.
OLIVIER THEATRE: Moira Buffini’s Welcome to Thebes re-imagines the disastrous aftermath of the fall of Oedipus in a 21st century environment by replacing Theban King Creon with his wife Eurydice.
FINBOROUGH THEATRE: 'Lingua Franca', Peter Nichols’ play at the Finborough theatre until 7th August, follows the fortunes of Steven Flowers (antihero of 'Privates on Parade') in fifties Florence.
SHAKESPEARE'S GLOBE: The Henry IV plays are not really about the eponymous King. They explore the making of a monarch by following Prince Hal, the future King Henry V, from his wild youth under Falstaff’s wing through redemption, relapse, coronation and final repudiation of his old friends at the end of Part Two.
Morte d’Arthur tells of the sword in the stone, the consolidation of Arthur’s positon as King of Britain and the establishment of the round table.
SHAKESPEARE: Caught between desire and duty Antony and Cleopatra's affair shook the foundations of the world. Power politics and passion collide in Shakespeare's captivating tragedy.
TIM SHEADER'S OPEN AIR THEATRE: Arthur Miller’s classic is so engrained into the collective consciousness that I had lazily assumed I must have done it for GCSE, or maybe even played a minor puritan in a school production, but memory definitively says otherwise and, seeing it for the first time, I was taken aback by how good it was.
BARBICAN THEATRE: David Greig’s new version of 'Peter Pan' is a lot closer to J.M. Barrie’s novel than the hazy, Disneyfied idea of the story that we carry around in our collective consciousness.
OLIVIER THEATRE: In the event that Prince William's squeeze Kate, joins the British Royal Family her story will begin to resemble that of Bianca in Thomas Middleton’s 'Women Beware Women', currently in the Olivier at the National Theatre.
SHAKESPEARE'S GLOBE: 2010’s ‘Kings and Rogues’ season kicks off with Lucy Bailey’s 'Macbeth' of the damned: the Globe’s structure is perfectly suited to Dante’s seven circles of hell, right down to the Pit where the witches terrorise the groundlings before the play begins.
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