August casting update

 

Linda Bassett and John Heffernan have been cast in Caryl Churchill’s new play What If If Only, which will be directed by James Macdonald. With set design by Miriam Buether, lighting design by Prema Mehta, sound design by Christopher Shutt and assistant direction from Grace Duggan.

What If If Only will run in the Royal Court Jerwood Theatre Downstairs from Wednesday 29 September 2021 – Saturday 23 October 2021. Performances run Monday – Saturday at 6pm, plus Friday 8, 15 & 22 October 2021 at 10pm. The running time is a lush 14 minutes. Continue reading “August casting update”

Nominations for 2013-2014 Outer Critics Circle Awards

John Gassner Playwriting Award
Scott Z. Burns, The Library
Eric Dufault, Year of the Rooster
Madeleine George, The (Curious Case of the) Watson Intelligence
Steven Levenson, The Unavoidable Disappearance of Tom Durnin
Lauren Yee, The Hatmaker’s Wife

Outstanding Actor in a Musical
Michael Cerveris, Fun Home
Neil Patrick Harris, Hedwig and the Angry Inch
Andy Karl, Rocky
Jefferson Mays, A Gentleman’s Guide to Love Murder
Bryce Pinkham, A Gentleman’s Guide to Love & Murder Continue reading “Nominations for 2013-2014 Outer Critics Circle Awards”

Review: Orlando, Royal Exchange

“Their morals were not ours”

Time for a confession – though I know I should have, I’ve not partaken of either Virginia Woolf’s 1928 novel or Sally Potter’s 1992 Tilda Swinton-starring film adaptation of Orlando. So my trip to see the stage version by Sarah Ruhl at the Royal Exchange was actually my first experience of the story of a time-travelling, gender-swapping, history-defying nobleman, which is given highly theatrical life by Max Webster’s production which features Suranne Jones in the leading role.

It is strikingly done – Webster uses Liz Ranken’s movement and Vicki Amedume’s aerial knowledge to create a highly physical world which plays up the comedy of the story. From a sexually voracious Elizabeth I who is most taken with her pageboy to a gorgeous evocation of the arrival of electricity, the silly and the sublime co-exist, often in the form of the chorus of three men who narrate the action and populate the many small scenes. Continue reading “Review: Orlando, Royal Exchange”

Review: In The Next Room, or the vibrator play, St James Theatre

“Your mouth is dry, and you lick your lips, and your face makes an ugly expression…”

Even its very title seems designed to shock – In The Next Room, or the vibrator play – but truth is that Sarah Ruhl’s play, seen in Bath last year, does little to hit the spot or indeed do much to arouse much attention. A lengthy exploration of the arrival of portable electronic devices for the treatment of women’s…hysteria, Ruhl eschews the chance of delving into the ins and outs of medicine of the time, the elusiveness of genuine understanding of female biology, or the quivering anticipation of the explosive social change on the horizon, and plumps instead for a bog-standard sex farce based on marital relations.

And for all that it is filled with the moans and groans of female (and male) “paroxysms” – Flora Montgomery’s Mrs Daldry charged with the thankless tasks of producing the vast majority of them – it is a curiously sexless enterprise. The focus remains instead on the disappointments of the marital bed, as Jason Hughes’ Dr Givings – the inventor of the new-fangled device – finds more satisfaction in treating his increasingly eager patients than connecting with his own wife, Natalie Casey’s pinched Catherine, and Mrs Daldry is happier with her doctor than has ever been with her own husband. Continue reading “Review: In The Next Room, or the vibrator play, St James Theatre”