#169 - "Domestic intimacy and a strong supernatural tang" - theatre review, Macbeth 14/11/18

Evening Standard

Having real-life spouses Michelle Terry and Paul Ready play the Macbeths adds an air of domestic intimacy to Shakespeare’s play, especially in this close, candlelit space. Terry is the more powerful actor (and, as Globe director, her husband’s boss) and her Lady Macbeth is the more vividly realised of the murderous duo. Read’s soliloquies tend to drift, though he snaps into focus at the end. Robert Hastie’s production can seem a little, er, hurried, but it has a strong supernatural tang. If you’re looking for something weightier than panto this year, look no further.

#168 - "A superb central performance by Threlfall" - theatre review, Don Quixote 13/11/18

Garrick Theatre

The slapstick humour of Angus Jackson’s delightful, teeming adaptation of Cervantes’ pioneering novel is anchored by David Threlfall’s superb central performance. His bittersweet Quixote grows in pathos as his mind and body weaken, and there is extraordinary physical and vocal precision in his characterisation. Rufus Hound’s genial Sancho Panza lacks energy, but the affection between the two – the characters and the actors – is palpable. It’s all served up with typical RSC largesse – hordes of actors and musicians, great sets and props – but with audience participation and self-deprecating wit substituted for the company’s usual po-faced pomp. A real pleasure.

#167 - "Are we hitting peak Pinter" - theatre review, Pinter Three 12/11/18

Harold Pinter Theatre

Are we hitting peak Pinter? This is the third tranche in a season programmed by director Jamie Lloyd, pulling together all 20 of the playwright’s short plays, and I confess I felt fatigue setting in. It’s a delight to see Tamsin Greig and Keith Allen’s nuanced, gentle performances in both A Kind of Alaska (1982) and Landscape (1969), but precious little links these mainstays of the evening. Lee Evans’s pre-interval performance of Monologue (1973) is swamped by the bittier sketches and one-acters that crowd around it. The whole season is staged on the same revolving box of a set, and that, too, is showing diminishing returns.

#166 - "Wilfully absurd" - theatre review, A Very Very Very Dark Matter 6/11/18

Bridge Theatre

There is slightly more going on in Martin McDonagh’s wilfully absurd play than the caustic reviews allowed. Yes, the plot is a slapdash creation, in which Hans Christian Anderson’s stories are written by a captive, one-legged female pygmy refugee from the future genocide in Belgian Congo. And yes, McDonagh rubs our noses in racism and cruelty yet again while asking us how much daftness we are prepared to take. But the serious point, I think, is that all Europe colluded in African oppression throughout history, and that even socially conscious authors prettify the horrors of humanity. Also, Jim Broadbent’s performance as Anderson is a comic delight; and not many other authors are writing parts  for one-legged black women.

#165 - "Rackety but timely" - theatre review, White Teeth 5/11/18

Kiln Theatre

There’s a slight whiff of panto to this exuberant stage adaptation, which reminds you of the dazzling sweep of Zadie Smith’s novel while missing some of its edge and acuity. The setting at least is right: Smith’s own NW3, where white, black and Asian characters rub along, procreate and observe the changing world, as 70s racism gives way to 90s radicalism. Indhu Rubasingham’s production is rackety but timely: a celebration of London’s melting pot feels urgently needed right now. And its glancing take on the issues Smith considers more deeply – genetics, faith, loyalty, desire – may compel people to read or reread the book.

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