#161 - "Radical reworking makes the play live afresh" - The Wild Duck 30/10/18

Almeida Theatre

Once again, Robert Icke’s radical, brilliant reworking of a classic – here, a lesser Ibsen – makes the play live afresh. With a semi-updated text, an ostensibly bare stage, and a microphone through which the cast comment on the action, Icke unpeels layers of artifice to reveal truth. Within a close-woven ensemble, Lindsay Marshal stands out as a heartbreaking, compromised, malapropising Gina, wife of the ineffectual Ekdal and mother to the doomed Hedwig (an assured Clara Read, the night I saw it). Ibsen’s heavy symbolism is alleviated by a lightness of playing until the crushing denouement, which also features a brilliant coup de theatre by designer Bunny Christie.

#160 - "Beguilement gives way to exasperation" - theatre review, Wise Children 19/10/18

Old Vic

Emma Rice and Angela Carter are a good fit – romantic visionaries fascinated by sex and myth and performance, who revel in ungovernment. This new adaptation of Carter’s novel Wise Children, kick-starting Rice’s new company of the same name, is a charming, fruity, lyrical affair that eventually overstays its welcome. It’s a story of fatherless music hall twins, disappointment and transgression, and Rice’s gender fluid production has a rackety energy. But a late, shock revelation feels both unearned and frivolously dismissed, and beguilement eventually gives way to mild exasperation. Can everything be explained by a song, a dance, or a winsome puppet?

#159 - "Acute, witty, sometimes savage, often warm" - theatre review, Stories 17/10/18

National Theatre, Dorfman

Writer/director Nina Raine probes thorny moral conundrums as if probing wounds. Here, writer/director Anna (canny, on-edge Claudie Blakley), 39, is desperately seeking a proxy dad to give her a much-wanted child. Having all the potential donors played by Sam Troughton makes them gentle figures of fun, but Anna’s motives don’t escape examination. Is parenting a right? Whose wants should triumph? This is acute, witty, sometimes savage, often warm, set in a boho milieu similarly to that Raine grew up and lives in, with the tale of a Holocaust survivor woven in for balance, or ballast. And it’s not quite as powerful as the 2016/17 Young Vic adaptation of Yerma by – this is awkward – a man.

#158 - "Rosalie Craig again proves herself a star" - theatre review, Company, 17/10/18

Gielgud Theatre

In Marianne Elliott’s punchy revival of Sondheim’s first big hit, the conversion of the lead character from male to female works seamlessly, and Rosalie Craig – who always looks like she’s keeping a delicious secret – again proves herself a star. A musical about marriage feels somewhat dated today but the hits roll out: Marry Me a Little, Side by Side by Side, and the tremendous Being Alive. There’s a slight air of overcooked Noo Yawk hysteria to some of the supporting performances, but Patti LuPone delivers a succinct, tart turn as the jaded and much-married Joanne. As in her previous show with her own company, Heisenberg, Elliot has her designer confine the action in boxes. Here, it works.

#157 - "This had to be staged, even if it doesn't quite work" - theatre review, Measure for Measure 15/10/18

Donmar Warehouse

First Josie Rourke gives us this distasteful play in Jacobean dress and drastically filleted form, with the usual gender roles intact: then a similar shortened text, with mobile phones and modern dress, and the genders of suppliant virgin and sexual predator swapped. That the second version is barely credible is surely the point, reinforcing that the abuse of power, especially sexual power, has been almost exclusively a male preserve since time immemorial, and largely remains so, four centuries after Shakespeare lived. Hayley Atwell and Jack Lowden give strong performances despite occasional, unavoidable awkwardness. This production had to be mounted, even if it doesn’t quite work.

Displaying 26 - 30 of 190 Articles
prev | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | next