REVIEWS Archives - Page 5 of 569

Dead Poets Live: Emily Dickinson – Coronet Theatre

8Mar

By Louise PennNo Comments

London

Dead Poets Live: Emily Dickinson – Coronet Theatre

Dead Poets Live aims to bring poetry to the stage, “creating theatre out of poems and poets”. Over the last ten years, poets from the past from Yeats and Byron to Robert Frost and Stevie Smith have been resurrected in the person of actors such as Rupert Everett, Glenda Jackson, Denise Gough and Monica Dolan. Patsy Ferran is centre stage tonight as one of America’s greatest poets, Emily Dickinson, a 19th century writer who flirted with modernism before it had a name and engaged fully with the world while remaining reclusive and withdrawn physically from it. Her poems are noted for their odd metre and punctuation – chiefly dashes – while offering playful and perceptive views of melancholia, religion and nature. Although other stagings of Dead Poets Live have been presented in full ...

8Mar

By Stewart Who?No Comments

London

tell me straight / aggy – Park Theatre

Despite an avoidance of capital letters, ‘tell me straight’ follows sold-out runs at The King’s Head and Chiswick Playhouse. Paul Bradshaw’s play explores sexuality and dating in a semi- autobiographical coming of age drama. Writer and co-producer Paul Bradshaw stars as the character known only as ‘Him’. Flashing back to childhood and progressing to the present day, it’s a comedic journey of sexual adventures, but mostly charts a chaotic fetish for straight men. Fresh from playing Alexander the Great in a Netflix historical drama, Buck Braithwaite abandons smouldering soldier homoerotica and plays a roll call of men who have little idea what to do with their sword, never mind their helmet. He pulls it off with considerable skill. In fact, the nuances of sexual confusion that Braithwaite...

8Mar

By Damian RiverolNo Comments

Wales

Macbeth – Storyhouse

Adapted and directed by Jamie Sophia Fletcher, Shakespeare has returned to Storyhouse with a fresh, bold and ambitious telling of Macbeth. We also see the return of the thrust configuration within the theatre which sees the stage area built out over the original stalls and creates a more intimate space where the audience surround three sides of the stage and feel even more involved with the story being told, with cast occasionally entering through the audience, inviting us in a little closer. The stage is pretty bare except for some strip lighting hanging down at different levels above the stage area and ‘Something wicked this way comes’ written all across the floor. The lighting is a huge part of this production, used to differentiate different families or groups, each with their own l...

8Mar

By Dylan MooneyNo Comments

Scotland

Medea – Traverse Theatre

Eurpides’ Greek tragedy, Medea, is revived once more by Kathy McKean, arguably bringing more life to the title role, putting Medea front and centre in her own story. This adaptation stays true to its source material while also modernising to fit with today’s usual audience. Her husband, Jason (Jonny Panchaud), gained the golden fleece while Medea (Nicole Cooper) has largely been forgotten. Left at home to look after her two sons, assisted by the Nurse (Isabelle Joss), Medea begins to play a dangerous game of revenge after Jason falls in love with the Princess and daughter of King Creon (Alan Steele). Cooper’s performance as Medea is truly incredible. From the moment she enters the stage, she commands attention, bringing a great sense of naturalism to this well-known Greek tragedy. Sh...

6Mar

By Paul WilcoxNo Comments

North West

Macbeth – Octagon Theatre

Over four hundred years since it was written and first performed, Shakespeare’s Macbeth still proves to be the quintessential study of guilt, paranoia and vaulting ambition. With this modern-dress version of the tragedy, Director Mark Babych produces an accessible and clear rendition of the text that emphasises the domestic trauma of the central couple at the expense of the wider political context of the play. When watching and reviewing any Macbeth, my interest always centres around the decision a director takes to emphasise certain key themes inherent in the text. Will they choose to focus on the political, martial or domestic elements that conspire to push the eponymous character from warrior hero at the outset towards bloody regicide and insecurity, culminating in his fatalistic dea...

Rozencrantz and Guildenstern Are Dead – Assembly Roxy Upstairs

5Mar

By Greg HolsteadNo Comments

Scotland

Rozencrantz and Guildenstern Are Dead – Assembly Roxy Upstairs

Tom Stoppard’s Rosencrantz and Guildenstern Are Dead is a play that wears its cleverness cheerfully on its sleeve and occasionally waves it about like a philosophical flag. Absurd, witty and quietly unnerving, it takes two minor characters from Hamlet and places them centre stage in a universe where the rules of narrative appear only partially understood. For any company, let alone one mounting its very first production, it is a formidable undertaking. Yet Gutter Theatre of Edinburgh, present the play at The Roxy Upstairs, approach the challenge with a pleasing mixture of ambition and good humour. The play famously opens with a coin tossing sequence in which probability appears to abandon the building entirely. From that moment onward Stoppard’s world of existential ...

5Mar

By Dave SmithNo Comments

London

Our Town – Rose Theatre

Michael Sheen is the Artistic Director of Welsh National Theatre, and this is their inaugural production, co-produced by Rose Theatre themselves. Sheen has put his money where his mouth is, funding WNT himself. They begin with an American classic, Thornton Wilder’s Our Town. While this may not sound innately Welsh - the tale of a quintessential American town - it is said that Dylan Thomas was familiar with both Wilder and his play when he wrote Under Milk Wood. So, we take ourselves to Grover’s Corners, a small town with a Welsh accent somewhere, well let’s just say somewhere. The Stage Manager guides the audience through the story, introduces us to a number of the inhabitants and we jump back and forward in time to follow their trials and tribulations. Sheen himself plays the Sta...

5Mar

By Kevin EcclestonNo Comments

North West

War of the Worlds – Liverpool Playhouse

At Liverpool Playhouse, War of the Worlds is not presented as a conventional science-fiction spectacle. Instead, the innovative theatre company imitating the Dog transforms The War of the Worlds by H. G. Wells into a striking exploration of storytelling itself. The result is a production that feels urgent, intelligent and technically daring. From the outset, the audience is made aware that they are watching a story being constructed. The stage resembles a film studio as much as a theatrical set: cameras are visible, miniature buildings sit on tables, and projected backdrops loom across large screens. Rather than hiding the mechanics, the company places them centre stage. This transparency becomes one of the production’s greatest strengths. As scenes of invasion and destruction unfold, w...

The Picture of Dorian Gray – Drama Studio, Sheffield

5Mar

By Nathan DunnNo Comments

Yorkshire & Humber

The Picture of Dorian Gray – Drama Studio, Sheffield

The Company brought Oscar Wilde’s philosophical gothic great ‘The Picture of Dorian Gray’ to Sheffield’s Drama Studio this week, and audiences lucky to attend are in for an impressive, arresting night of theatre. This particular adaptation was born from the brain of George Shore, who co-directs this piece with Mark Todd. Shore’s script is refined and full of wry humour. In many cases the world-building is contingent upon the script, and here Shore exercises expressive vernacular with all the appropriate didactic bombast of Wilde’s upper-class late Victorian realm. I really enjoyed Shore’s reliance on subtext in dissecting the narrative, leaving an air of mystique surrounding the picture and the terms of Dorian’s negotiation with it. It’s a pointed, concise text that Shore has crafte...

5Mar

By Zain RussellNo Comments

London

Double Indemnity – Richmond Theatre

Double Indemnity is a thrilling stage adaptation that dives deep into the darker side of human nature, exploring how lust, greed, and temptation can drive even the most ordinary people toward murder. The play captures the essence of classic noir storytelling, asking the audience to consider just how far someone might go when love and money become intertwined. The story follows insurance broker Walter Huff, played by Ciarán Owens, whose seemingly routine job takes a dangerous turn when he meets Phyllis Nirdlinger, the wife of one of his clients. Phyllis, portrayed by the wonderful Mischa Barton, quickly draws Walter into an illicit affair. What begins as flirtation soon escalates into something far more sinister, as the two begin plotting the murder of Phyllis’s husband in order to claim...