All stories by Andrew Haydon on BroadwayStars

Saturday, September 16, 2017

The Wedding review at Home, Manchester – ‘beautiful imagery’ by Andrew Haydon

There are two ways you can experience The Wedding, visual theatre company Gecko’s latest piece; you can either read the brief programme

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Wednesday, September 13, 2017

Oh! What a Lovely War review at Coliseum, Oldham – ‘faithful but flat’ by Andrew Haydon

It is salutary to think that the first production of Oh! What a Lovely War was closer the end of First World

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Friday, July 14, 2017

10,000 Gestures review at Mayfield, Manchester – ‘intriguing’ by Andrew Haydon

Twenty-five dancers fill the large, temporary stage, a shiny silvery padded floor set amid the industrial columns of the abandoned warehouse in

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Wednesday, July 12, 2017

Cotton Panic! review at Upper Campfield Market Hall, Manchester – ‘lacks an overall concept’ by Andrew Haydon

The concept behind Jane Horrocks’ latest gig-theatre project is an excellent one. In 1861, due to the American Civil War, the supply

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Friday, July 7, 2017

Available Light review at Palace Theatre, Manchester – ‘living, breathing performance history’ by Andrew Haydon

Live performance is inescapably trapped in the present. Available Light, showing as part of the Manchester International Festival, is 34 years old

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Friday, June 9, 2017

Jeff James: ‘Theatre can’t change the world, but it can change minds’ by Andrew Haydon

After learning his craft in Germany and assisting Ivo van Hove, the director is bringing a radical adaptation of Jane Austen’s Persuasion

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Thursday, April 13, 2017

A Girl in School Uniform (Walks Into a Bar) review at West Yorkshire Playhouse, Leeds – ‘intelligent and ultra-live’ by Andrew Haydon

If you’ve ever watched a play being rehearsed you’ll know that the rehearsal can feel more live, more compelling, even somehow more

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Monday, March 13, 2017

Andrew Haydon: Polish theatre crisis is more important than Brexit by Andrew Haydon

Please forgive the dramatic headline, but this is important. Three weeks ago, a play opened. It is an artistically important play. I

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Thursday, February 23, 2017

Klatwa review at Teatr Powszeceny, Warsaw – ‘visceral, provocative, necessary’ by Andrew Haydon

On paper, Klatwa (The Curse) is a 1899 play by Polish dramatist and renaissance man, Stanislaw Wyspianski. It has long been out

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Thursday, February 9, 2017

Beware of Pity review – world wars and refugee crises collide in blood-soaked horror by Andrew Haydon

Schaubühne, BerlinSimon McBurney’s production, based on Stefan Zweig’s 1938 novel, brings past and present together in a desperate vision of failed empire Related: Rereading: Beware of …

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Thursday, January 19, 2017

Andrew Haydon: How the decline of criticism led to the rise of Trump by Andrew Haydon

There’s a very fine, sensible new report on the Columbia Journalism Review website entitled: Curtains Fall on Arts Critics at Newspapers. Reading

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Monday, January 16, 2017

The Island, the Sea, the Volunteer and the Refugee review at Home, Manchester – ‘a ground-level view’ by Andrew Haydon

The ongoing refugee crisis in Europe is one of the great unsolved problems of our times. It also presents a very real

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Thursday, November 3, 2016

Andrew Haydon: Groupthink? Why Ed Vaizey should be more careful with his words by Andrew Haydon

To echo The Stage’s print editor, Alistair Smith, Ed Vaizey’s 27-minute lecture to the Royal Society of Arts is well worth watching

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Friday, June 17, 2016

Andrew Haydon: Why is anyone still resisting live-streamed theatre? by Andrew Haydon

The New York Times recently tweeted a story about how the musical revival She Loves Me is going to be live-streamed. I

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Wednesday, May 11, 2016

Andrew Haydon: Should theatre critics need an ‘intellectual background’? by Andrew Haydon

‘Unpaid bloggers often lack ‘intellectual background’ to write theatre reviews‘ Thanks to some eye-catching headlining here at The Stage, fringe producer Danielle

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Monday, February 15, 2016

Beware of Pity review – world wars and refugee crises collide in blood-soaked horror by Andrew Haydon

Schaubühne, BerlinSimon McBurney’s production, based on Stefan Zweig’s 1938 novel, brings past and present together in a desperate vision of failed empire Related: Rereading: Beware of …

Linked From The Guardian at 08:46AM
Wednesday, November 18, 2015

The myth of the debut by Andrew Haydon

Polly Stenham's That Face has been hailed as a great debut, but a playwright's first professional production is rarely really their first workPolly Stenham wrote That Face when she was 19. P…

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Thursday, October 22, 2015

Joy of text: the staged books turning a new page for theatre by Andrew Haydon

Forget traditional adaptations. Productions such as National Theatre Wales’ Iliad reveal a new type of staged book – and increasingly, the sources needn’t actually be a work of fiction…

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Thursday, October 1, 2015

Andrew Haydon: Isn’t it time we looked at text with a fresh eye? by Andrew Haydon

Last week, I went to the Belgrade International Theatre Festival in Serbia and then, a day after returning, was on a panel

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Wednesday, September 30, 2015

Why does size matter to theatres? | Andrew Haydon by Andrew Haydon

Some say that theatre is all about liveness and intimacy, others that it needs to be epic in scope. Both can't be right, surely?Does size matter? It strikes me that the biggest single issue …

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Monday, September 28, 2015

International: BITEF 2015 round-up “important, impressive, urgent” by Andrew Haydon

The Belgrade International Theatre Festival, universally known as BITEF (Beogradski Internacionalni TEatarski Festival) has been running for 49 unbroken years. A remarkable

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Sunday, August 16, 2015

What is it about Warwick? How one university is dominating Edinburgh's political theatre by Andrew Haydon

Three of the most outspoken and inventive plays at this year’s fringe come from alumni of Warwick University fired up by recent student protestsThe best three pieces of theatre that I’ve…

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Wednesday, July 15, 2015

Flare festival review – music, energy, spirit and stage blood by Andrew Haydon

Contact theatre, ManchesterFrom a pea-eating contest with cocktail sticks to a Bacchic ritual of desire and violence, this inventive, physical triple bill was enjoyably tough to categoriseEv…

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Wednesday, June 24, 2015

Wherefore art thou pepper pot? Shakespeare's plays retold with household objects by Andrew Haydon

Forced Entertainment are live-streaming tabletop versions of the Bard’s complete works, with cutlery, cans and candlesticks as characters. If that sounds unpromising, then it fits the comp…

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Andrew Haydon: Is La Ronde too risqué for the 21st century? by Andrew Haydon

Sex and scandal are integral to this classic Viennese play, but British directors seem to be shy of telling it like it isIf most new openings seem to be about communism at the moment, it's s…

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Monday, May 25, 2015

Subversion on stage: can theatre change the world? by Andrew Haydon

Recent events in Hungary, Belarus and Iraq show that governments find theatre dangerous enough to think it's worth banning. So what should we be doing in response?In the past month, three ra…

Linked From The Guardian at 05:58PM

Why does size matter to theatres? | Andrew Haydon by Andrew Haydon

Some say that theatre is all about liveness and intimacy, others that it needs to be epic in scope. Both can't be right, surely?Does size matter? It strikes me that the biggest single issue …

Linked From The Guardian at 05:58PM

There's nothing funny about putting racism on stage by Andrew Haydon

In Germany, I saw a white woman dress as a gorilla to play Othello. Yet the best that Britain seems to do is Clybourne Park - a play which aims for laughs rather than a serious examination o…

Linked From The Guardian at 05:58PM

Subversion on stage: can theatre change the world? by Andrew Haydon

Recent events in Hungary, Belarus and Iraq show that governments find theatre dangerous enough to think it's worth banning. So what should we be doing in response?

Linked From The Guardian at 05:58PM
Thursday, May 21, 2015

Going Deutsch: Britain and Germany's theatre exchange by Andrew Haydon

One is supposedly writer-led, the other director-led; one genuinely made classics speak to the present day while the other boomed with new writing. But these two countries’ productions are…

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International: Gorki Theater by Andrew Haydon

Set back from Unter der Linden, Berlin’s wide tree-lined avenue sweeping east to west from Alexanderplatz to the Brandenburg Gate, the Maxim

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