Any opportunity to see Lesley Manville on stage should be taken but The Visit or The Old Lady Comes to Call proves close to a trial at the National Theatre
“We’re alive now only in the sense that moss and lichen are alive”
There’s no two ways about it – Tony Kushner’s new version of Friedrich Dürrenmatt’s 1956 The Visit or The Old Lady Comes to Call is a punishing evening on the buttocks. Thank the Lord (or the donors) for the relative comfort of the seating at the National Theatre but unless you’re a fan of Lesley Manville (and what right-thinking individual isn’t), it could well prove punishing on your patience too.
Manville really is superb. She’s Claire Zachanassian, the richest woman in the world who has returned to her dilapidated hometown with an intriguing proposition for the townsfolk. She’ll donate an incredible, life-changing amount of money for everyone if they’ll carry out a brutal act of vengeance on the man whose actions forced her to leave the place as a pregnant teenager. And she rises to the challenge, displaying a mesmerising stage presence that is startling in its power. Continue reading “Review: The Visit or The Old Lady Comes to Call, National Theatre”
I look ahead to some of the 2020 shows exciting me most with an emphasis away from the West End, looking mostly instead at the London fringe and across the UK
Sure, there’s all sorts of big ticket shows coming to London in 2020 (with big ticket prices too to go with their big names), like Sunday in the Park with George with Jake Gyllenhaal, Sister Act with Whoopi Goldberg, A Doll’s House with Jessica Chastain. But there’s so much more to discover if you venture away from Shaftesbury Avenue…
1 The Glass Menagerie, Odéon–Théâtre de l’Europe at the Barbican
Not that I want to be predictable at all but Isabelle Huppert! Acting in French! Right in front of you! I understand that van Hove-fatigue might be setting in for people but only a FOOL would pass up the chance to see one of our greatest living actors. A FOOL!
2 The Glass Menagerie, Royal Exchange
And if you wanted to do a direct compare and contrast, Atri Banerjee’s revival for the Royal Exchange will be worth checking out too for an alternative perspective.
3 The Wicker Husband, Watermill
Even before Benjamin Button tore my heart apart, I was excited for the arrival of this new musical by Rhys Jennings and Darren Clark but now, the bar has been raised even higher. And the gorgeous intimacy of the Watermill feels like a perfect fit.
4 Children of Nora, Internationaal Theater Amsterdam
Me: “I don’t need any more Ibsen in my life”
Also me: Robert Icke revisiting the world of A Doll’s House through the eyes of the next generation? Yes please.
5 Romantics Anonymous, Bristol Old Vic
I don’t think I thought this delicious Koomin and Dimond musical would ever actually return, so this short run in the UK ahead of a US tour feels like a real blessing. Now where did I put my badge? Continue reading “20 shows to look forward to in 2020”
Jessie Buckley and Josh O’Connor headline a new production of Romeo and Juliet, while Callum Scott Howells and Rosie Sheehy star in Gary Owen’s Romeo and Julie, among other big news from the National Theatre
Simon Godwin returns to the National Theatre to direct Shakespeare’s ROMEO & JULIET following his critically-acclaimed productions of Antony and Cleopatra and Twelfth Night in the Olivier Theatre. Set in modern Italy in a world where Catholic and secular values clash, Jessie Buckley (Wild Rose, Judy) and Josh O’Connor (The Crown, God’s Own Country) play the two young lovers who strive to transcend a world of violence and corruption. Fisayo Akinade (The Antipodes, Barber Shop Chronicles) is cast as Mercutio. The production will open in the Olivier Theatre in August 2020.
Set and costume design by Soutra Gilmour, lighting design by Lucy Carter, composition by Michael Bruce and sound design by Christopher Shutt. Continue reading “News: new productions and casting updates for the National Theatre”
“Any suggestion of a correlation between the leader of a certain nation and the homicidal gangsters we depict is something that the management must strictly disavow”
There’s something special in the timelessness of some pieces of theatre, their themes and arguments as relevant to audiences today as they were when they were written years, decades, even centuries ago. Brecht’s The Resistible Rise of Arturo Ui falls into the middle category, written in 1941 as an allegorical response to his nation’s fall to Nazism, and was magisterially revived at Chichester a few years back.
For their own new production, the Donmar Warehouse has turned to Bruce Norris (Clybourne Park, The Low Road) who doesn’t quite trust the material in the same way, updating it in the most heavy-handed of manners by directly substituting Trump for Hitler. It’s an arresting move and indubitably pertinent in the way in which it expounds on the exploitation of a particularly toxic brand of populist politics. Continue reading “Review: The Resistible Rise of Arturo Ui, Donmar Warehouse”
Dipping a toe into the waters of Matthew Warchus’ debut season at the Old Vic with Future Conditional
Realising that it wasn’t for me, at all, really quite quickly.