#182 - "Playful, fiery, rackety" - theatre review, Emilia 25/03/19

Vaudeville Theatre

This playful, fiery, rackety, all-female play is a necessary corrective to the airbrushing of women out of history and the art that reflects it, and promotes Elizabethan poet Emilia Bassano as a proto-feminist and – possibly – the dark lady of Shakespeare’s sonnets. First seen at the Globe, where all-male productions were until recently still a norm, it’s great to see it in the West End: even better, crowdfunders are enabling young girls to see it.  Morgan Lloyd Malcolm’s script and Nicole Charles’s direction are stronger on spirit than subtlety but the cast – especially the three actors who play Emilia over the years – give it welly.

#181 - "Daring, sensitive, indecently funny" - theatre review, Downstate 20/03/19

National Theatre, Dorfman

Daring enough to write a play which treats paedophiles with sensitivity: more daring still to make it indecently funny. Bruce Norris’s play, brilliantly realised by Pam McKinnon for Steppenwolf, occupies awkward moral grey zones. Was the relationship that gentle Dee (K Todd Freeman) had with an underage boy really a love affair? Does pent-up Andy (Tim Hopper) misremember his abuse by the seemingly benign Fred (Francis Guinan)? The drama also has room for one magnificently weary and one manic comic performance from Cecilia Noble and Aimee Lou Wood. Norris is a deft and necessary dramatist, who points us towards the corners where we don’t want to look.

#180 - "Ritualistic, repetitive, miserable" - theatre review, When We Have Sufficiently Tortured Each Other 29/01/19

National Theatre Dorfman

It’s true: this study of gendered sado-masochistic power games starring Cate Blanchett is a hard watch for all the wrong reasons. Ritualistic, repetitive, monotonously miserable, Martin Crimp’s play – supposedly inspired by Samuel Richardson’s Pamela – is a bore. In a strip lit garage and in the car inside, the always riveting Blanchett and the Stephen Dillane – whose habitual diffidence here manifests as boredom – commit sexual and violent acts upon each other, dressed in matching black scanties. Bribed and gagged onlookers are co-opted and assaulted. The situations change without progressing much. Most of the violence is directed at Blanchett. The mood may fit our sour times, but whether this actually says anything is another matter.

#179 - "Baggy but fascinating" - theatre review, Rosenbaum's Rescue 17/01/19

Park Theatre

Alexander Bodin Saphir’s first play compares the ‘miracle’ rescue of almost all of Copenhagen’s Jews in WWII with the country’s recent swing to the right – and contains much else besides. If this one-room four-hander is overstuffed with themes, it remains an impressive and thought-provoking debut. Kvetching Abraham (David Bamber) argues with his childhood friend Lars (Neil McCaul) about collaboration, collusion, faith and the mutability of truth: Abe’s wife and Lars’s lesbian daughter are there to provide further talking points and a bold denouement. Bamber steals the show in Kate Fahy’s baggy but spirited production and the history explored is undoubtedly fascinating.

#178 - "Smart, timely, daringly witty" - theatre review, The Convert 10/01/19

Young Vic

What a hit, on so many levels, for Kwame Kwei-Armah’s first season in charge of the Young Vic. Danai Gurira’s play is a smart, timely and daringly witty study of religion and deracination in colonial Africa, and Ola Ince’s production draws nuanced stage performances from two actors on the brink of stardom. Letitia Wright – Gurira’s costar in Black Panther – is the girl put in service of Paapa Esseidu’s Chilford, a man doing God’s (and the colonists’) work. The physical and verbal precision both bring to their parts is matched by emotional depth, and the supporting performances are just as good. Bravo.

Displaying 46 - 50 of 231 Articles
prev | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | next