London Archives - Page 31 of 150

9Mar

By Dave SmithNo Comments

London

The House Party – Rose Theatre

August Strindberg's Miss Julie may be approaching 140 years old, but it's themes of sex, misogyny and class remain timeless. Laura Lomas’ The House Party brings this right up to the modern age, dialling up the sex but leaving class - or more specifically money - as an undercurrent throughout Julie (Synnøve Karlsen) is turning 18, her dad has skipped their evening plans to spend the evening with his 24-year-old girlfriend, so Julie throws a house party. Aided by best friend Christine (Sesley Hope) she anxiously awaits any of her guests to arrive. Director Holly Race Roughan has them arrive in full on Frantic Assembly style, slickly choreographed dance, leaps and dips and a flurry of youthful movement to an energetic beat. Without the traditional servant role to tell us how the charact...

7Mar

By Klervi GavetNo Comments

London

Twice-Born – Sadler’s Wells

Twice-Born, the Scottish Ballet’s triple bill presentation at Sadler’s Wells, was an evening of fearless experimentation and captivating ensemble work. Opening the night was Dive, a short film by choreographer Sophie Laplane—a piece leaving much to the audience’s interpretation. Its abstract visuals and elusive logic prompted questions about the very nature of movement and ballet. While its meaning remained obscure, it set the tone for an evening that, like a study of modern art, shifted the focus from precise execution and adherence to tradition to an open-ended exploration of the viewer’s own role in the production. Next, Schachmatt (“Checkmate”) by Spanish choreographer Cayetano Soto brought a burst of fresh, playful energy to the stage. With a nod to Bob Fosse’s stylised approach...

7Mar

By Sadie PearsonNo Comments

London

Punch – Young Vic

A heartbreaking true story of male violence, working class anger and redemption. And a critical exploration of the systems which breed this. Punch at the Young Vic is essential viewing. James Graham’s Punch is a true story, harrowingly so. In 2011 Nottingham city centre, nineteen-year-old Jacob Dunne, threw one punch at a complete stranger, 28-year-old James Hodgkinson. Nine days later, Hodgkinson was dead and the punch, an act of murder. Based on the book Right from Wrong by Jacob Dunne, Graham’s script pays tender tribute to all those involved and leaves you unquestioning that – through the brutal lack of opportunity which fostered Jacob’s behaviour – everyone in this story is a victim. Directed by Adam Penford, the script is brought to stage with a sensitivity and nuance that is v...

7Mar

By Paul AckroydNo Comments

London

A Special Relationship – Tabard Theatre

Although described as a transatlantic comedy this new play by Tim Marriott and Jeff Stolzer is not about politics; there is only one joke about Trump! Rather, it explores what it is in language, habits and culture which separate the US and the UK. The setting is the Sussex Garden of Monty, an British colonel, played by Tim Marriott, whose daughter is marrying the son of Pete, an American plumber, played by Brian Dykstra. Initially, the comedy is based upon the differences in linguistic usage between the two countries cupboard/closet, bathroom/ toilet etc. All familiar ground but amusingly delivered. More significant are the attitudes between the uptight British middle-class soldier and the much more laid-back American working man. Although Monty at first seems in control, insisting ...

6Mar

By Maani WayNo Comments

London

12 – Studio at New Wimbledon Theatre

“I’m fine”. ‘12’ is the one-woman show that tells the story of Mel, a woman in her late 20s, trying to navigate the complications of everyday life as well as her OCD and intrusive thoughts. From the moment she starts her day, she is bound by the fact that she must touch everything twelve times to prevent anything bad from happening. The studio is perfect to create the intimate setting required and the limited props and staging allow Catrin Mai Edwards to shine in her portrayal of Mel, using her vocal and acting skills to tell the story of the “quirky” character. Edwards is believable, likeable and depicts a character suffering with OCD well, making the audience want to root for her and her recovery. She blocks the entirety of the space, making dynamic choices in her movements and phy...

6Mar

By Zandra OdetundeNo Comments

London

Macbeth – Lyric Hammersmith

Macbeth at the Lyric Hammersmith was nothing short of mesmerising. The production seamlessly wove the ancient with the avant-garde, a rare and masterful balance that honoured Shakespeare’s original while infusing it with a vibrant contemporary spirit, a feat that should undoubtedly fill the director (Richard Twyman) with pride. The performance of Lois Chimimba as Lady Macbeth was particularly unforgettable. She slipped into the role as if it were an integral thread of her being, delivering an impeccable portrayal that firmly establishes her as one of my favourite incarnations of Lady Macbeth. In a legacy filled with formidable predecessors, her interpretation shone brightly. Equally captivating was Alex Austin in the role of Macbeth. How does one infuse tragedy with moments of levity...

White Rose The Musical – Marylebone Theatre

6Mar

By Zain RussellNo Comments

London

White Rose The Musical – Marylebone Theatre

White Rose The Musical is a powerful and moving production set in Nazi Germany, following a group of student activists determined to spread the truth about the atrocities occurring during World War II. Based on the inspiring true story of The White Rose, the musical highlights how even those with small voices can spark change and stand up for their beliefs. The movement was led by siblings Sophie and Hans Scholl, portrayed by Collette Guitart and Tobias Turley. Together, they formed an outstanding duo, bringing depth and sincerity to their roles and embodying the bravery of young people willing to risk everything for what they believed was right. Their chemistry on stage made their relationship feel authentic, reinforcing the emotional weight of their journey. Charley Robbie’s portrayal...

One Day When We Were Young – Park Theatre

4Mar

By Kira DanielsNo Comments

London

One Day When We Were Young – Park Theatre

Opening with a bang (both literally and lasciviously) but ending with a whimper, One Day When We Were Young illustrates a little too effectively that for war’s hollow men, life is very long. The framework of the script is slightly too frail to support both its underwritten characters. Like the Titanic’s infamously splintered door, this play can only hold up one of its young lovers’ character development. Resultantly male lead Barney White gets to cut his teeth on a sturdily written World War II conscript while Cassie Bradley exhausts her jaw attempting to chew through all the scenery provided to the young lover turned middle aged mother turned elderly author who plays second fiddle to him throughout. Designer Pollyanna Elston’s set is surprisingly rich but unfortunately clashes in palet...

3Mar

By Zoё MeeresNo Comments

London

Birdsong – Alexandra Palace

The novel Birdsong by Sebastian Faulks was a popular GCSE text back when I was taking those exams but wasn’t part of the Jane Austen-heavy syllabus followed by my school. Friends at a neighbouring school had studied it though (it was my at-the-time boyfriend’s favourite book) so I went into Rachel Wagstaff’s stage version on Friday night with a vague expectation of a sad World War I love story. The reality is obviously far richer and more complex than that, and I’m still unsure whether having a fuller understanding of what to expect would have made my experience better or worse. At three hours long the production covers a lot of ground, and the three acts divide the action neatly, but for me the first act was quite slow moving and a lot of subtlety was lost in the enormous auditorium. N...

2Mar

By Olivia CoxNo Comments

London

Son of a Bitch – Southwark Playhouse

Ten seconds, seven words. That’s all it takes for Marnie (Anna Morris) to become a viral sensation… for all the wrong reasons. After a stressful long-haul flight in which her husband has ditched her and their son in Economy while he sips champagne in Business, Marnie’s rising frustrations have an almighty climax as she loudly calls her four-year-old a c*nt in front of all the other passengers — including one opportunist filming it on their phone. Soon, Marnie is public enemy number one as she becomes the global poster girl for ‘bad’ motherhood. Some suggest child services need to get involved, some believe she should be sterilised, and #SaveTheSon is the latest trending topic. But in reality, as we discover in time-jumping scenes throughout Son of a Bitch’s 60-minute runtime, Mar...