‘Why?’ is what you leave with. It’s what you come in with, too, but you have an answer to that. ‘It’s Simon McBurney. It’s Complicite. It’s about a plainly interesting Hollywood producer, but you know McBurney’s going to spin it into something relevant, something golden.’ But does he? Because The Kid Stays in the Picture […]
I got far too hyped discussing the last big Hamlet and, worst of all, it ended up not being that big—Cumberbatch was competent, but the production didn’t generate discussion beyond theatre demography and the post-show ‘fuck the politicians’ appeal. This one, in the Almeida’s tight proscenium, is far larger, in thought rather than aspect, and […]
#neverlookback You see the above hashtag for a second of Sh!t Theatre’s hour-long show. It’s in footage of Manor House, the duo’s local area, on a billboard apparently for an E-cig company called Vivid; I thought it was from Nike (of ‘Just Do It’ fame), because both sentiments suggest a vaguely life-affirming yet thoughtless life […]
2016 was the second year of the London branch and a time when many more theatres opened their doors to us, including the National and, just recently, the Almeida, signalling the coup that we now have access to virtually every new writing theatre in the city. Which is astounding given where we started from. We’ve […]
Rural Illinois in 1979. A flagging old man wastes away on a couch watching sports on his tiny TV and sneaking swigs of whiskey when alone. This is Dodge (Ed Harris), the moribund, impotent pillar of the play. His wife Halie (Amy Madigan) calls out from above. She can’t get over her all-American son Ansel’s […]
The first half, and probably two-thirds, of The Sewing Group is excruciatingly oblique. It opens on two women, clad in black mantles, sitting on bare wooden stools in a bare wooden room and sewing. These people are, according to the script, A (Jane Hazelgrove) and B (Sarah Niles). They sew and continue to, but before […]
It’s over-expansive and yet at its most expansive it’s simultaneously at its best. Disregard (or don’t) the critics who call the ending effusive mush or ’emotional blackmail’. The ending is the best part; it’s the only good part, in fact. A Pacifist’s Guide to the War on Cancer, now at the Dorfman, is a Serious […]
Big British playwright David Hare offers The Red Barn, a new work which adapts La Main, a novel by prolific Belgian Georges Simenon. Simenon was a guy who wrote thrillers and he wrote a lot of them, and Hare mentions in the programme that his novels generally concerned those at the ‘bottom of society’. For […]