All stories by Michael Billington on BroadwayStars

Wednesday, October 11, 2017

Young Frankenstein review – glorious gags as Mel Brooks bolts together a monster hit by Michael Billington

Garrick theatre, London The horror-movie spoof is gleefully reanimated for the stage with even more jokes, superb set-pieces and barnstorming parody songs that stick a pitchfork into good ta…

SOURCE: The Guardian at 06:36AM
Tuesday, October 10, 2017

Heisenberg: The Uncertainty Principle review – romance and science collide for Cranham and Duff by Michael Billington

Wyndham’s, LondonAnne-Marie Duff and Kenneth Cranham are excellent in an immaculately designed production of Simon Stephens’ fable about love and physics This production has an impressiv…

SOURCE: The Guardian at 07:12AM
Monday, October 9, 2017

Victory Condition review – pizza and the apocalypse in baffling two-hander by Michael Billington

Royal Court, LondonSharon Duncan-Brewster and Jonjo O’Neill star in Chris Thorpe’s play which offers a bleak view of the world as a desolate wasteland This apocalyptic piece by Chris Tho…

SOURCE: The Guardian at 06:18PM

The Lie review – Florian Zeller tells the uncomfortable truth about a marriage by Michael Billington

Menier Chocolate Factory, LondonReal-life couple Samantha Bond and Alexander Hanson star in this shrewd companion piece to The Truth, as a pair whose marriage is a labyrinth of deceit Floria…

SOURCE: The Guardian at 01:18AM
Sunday, October 8, 2017

Look Back in Anger: how John Osborne liberated theatrical language by Michael Billington

Jimmy Porter takes on class, religion, politics and the press in Osborne’s classic 1956 play – but its real revolution lay in its thrilling linguistic exuberanceIn the summer of 1955 an …

SOURCE: The Guardian at 01:12AM
Friday, October 6, 2017

Macbeth review – Ninagawa's samurai Shakespeare is a weeping wonder by Michael Billington

Barbican, LondonA revival of the Japanese director’s 1985 production, filled with cherry blossom, poetically explores the obsession for power – and its emptinessThis production by Yukio …

SOURCE: The Guardian at 06:54AM
Thursday, October 5, 2017

My Name Is Rachel Corrie review – vivid testimony of a hyperactive activist by Michael Billington

Young Vic, LondonErin Doherty emerges as one of the year’s great discoveries with a stunning performance as the young American desperate to rectify the world’s injusticesTime changes thi…

SOURCE: The Guardian at 06:36AM
Wednesday, October 4, 2017

The Norman Conquests review – Ayckbourn's weekenders get lost in longing by Michael Billington

Chichester Festival theatre Blanche McIntyre’s mordantly comic revival of the 1973 trilogy spotlights the plays’ sadnesses along with their orgiastic frenzies Related: Blanche McIntyre: …

SOURCE: The Guardian at 09:04AM

Review | Theatre | Earthquakes in London | Cottesloe | Michael Billington by Michael Billington

Cottesloe, LondonWith plays such as My Child and Contractions, Mike Bartlett has established a reputation as a theatrical miniaturist. Now he has written a big, epic, expansive play about cl…

SOURCE: The Guardian at 02:42AM
Tuesday, October 3, 2017

Labour of Love review – James Graham's witty take on party's thorny past by Michael Billington

Noël Coward theatre, London Martin Freeman and Tamsin Greig give sparkling performances as a reforming MP and his constituency agent fighting through Labour’s fluctuating fortunes James G…

SOURCE: The Guardian at 07:54PM
Monday, October 2, 2017

B review – Guillermo Calderón unmasks the motives behind political protest by Michael Billington

Royal Court, LondonThe Chilean dramatist’s new show about urban violence explores the tensions between two young anarchists and a veteran bomb-makerThe Royal Court’s international progra…

SOURCE: The Guardian at 07:36PM

Peter Brook: 'To give way to despair is the ultimate cop-out' by Michael Billington

At 92, the visionary director refuses to slow down. He talks about how to silence audiences, the trouble with doing Shakespeare in French, the difference between Olivier and Gielgud, and why…

SOURCE: The Guardian at 02:12PM
Sunday, October 1, 2017

King Lear - review by Michael Billington

Olivier, LondonSimon Russell Beale is magnetic and unorthodox in an exceptional production that mixes the epic and the intimateAnother day, another Lear. But, although this is the third prod…

SOURCE: The Guardian at 06:04PM

King Lear review – Ian McKellen delivers a profound portrait of a soul in torment by Michael Billington

Minerva, ChichesterJonathan Munby’s smart, lucid production features plenty of pomp and circumstance, and a superbly detailed performance by McKellenIan McKellen knows his way round Lear. …

SOURCE: The Guardian at 08:06AM
Thursday, September 28, 2017

After the Rehearsal/Persona review – Bergman double bill storms on to stage by Michael Billington

Barbican, LondonThe Swedish auteur’s tales of actors are directed by Ivo van Hove at his most lucid and ostentatious, featuring fine performances and a pulsating tempest****/***‘Can you …

SOURCE: The Guardian at 10:18AM
Tuesday, September 26, 2017

Kwame Kwei-Armah: multi-talented dynamo is perfect fit for the Young Vic by Michael Billington

The surefire playwright, director and actor is an inspired choice as the Young Vic’s new artistic director – he has proved himself time and againThe appointment of Kwame Kwei-Armah as th…

SOURCE: The Guardian at 01:12PM

Le Grand Mort – Julian Clary slices and dices through tale of death, sex and veg by Michael Billington

Trafalgar Studios, LondonStephen Clark’s puzzling drama about a man planning to either seduce or murder his dinner guest comes across as both morbid and exploitativeSex and death are the t…

SOURCE: The Guardian at 08:12AM
Monday, September 25, 2017

Ramona Tells Jim review – hapless romance among the hermit crabs by Michael Billington

Bush theatre, LondonThe Scottish coast is the setting for Sophie Wu’s witty play about crustacean-loving Jim, his girlfriend and his kooky exLike many actors who turn to writing, Sophie Wu…

SOURCE: The Guardian at 09:04AM
Saturday, September 23, 2017

Coriolanus/Dido, Queen of Carthage review – Shakespeare and Marlowe do battle by Michael Billington

Royal Shakespeare theatre/The Swan, Stratford-upon-Avon This well-matched pair of tragedies in the RSC’s Rome season give us strong images, unforgettable lines, probing psychology – and …

SOURCE: The Guardian at 06:54AM
Thursday, September 21, 2017

Ben Hur Live | theatre review | by Michael Billington

O2 Arena, LondonThe statistics alone for this show are mind-boggling. It requires 620 tonnes of sand, involves a cast and crew of 400 and a total of 46 horses, donkeys and ponies. But specta…

SOURCE: The Guardian at 10:42PM

Wings review – Juliet Stevenson soars in stroke recovery tale by Michael Billington

Young Vic, London Performing 360-degree loops, pummelled by voices and piecing together her shattered speech, Stevenson goes bravely to the limit in this high-concept showJuliet Stevenson mu…

SOURCE: The Guardian at 06:24AM
Wednesday, September 20, 2017

For Love or Money review – Northern Broadsides strike comedy gold by Michael Billington

Viaduct, Halifax Blake Morrison transposes a corrupt, covetous 18th-century Paris to 1920s Yorkshire in a lively satire directed by and starring Barrie RutterNorthern Broadsides have made a …

SOURCE: The Guardian at 08:54AM
Tuesday, September 19, 2017

Love Never Dies | Theatre review by Michael Billington

Adelphi, LondonThere is much to enjoy in Andrew Lloyd Webber's new musical. The score is one of the composer's most seductive. Bob Crowley's design and Jack O'Brien's direction have a beauti…

SOURCE: The Guardian at 10:12PM
Monday, September 18, 2017

Oslo review – the political gets personal as tense peace talks are given epic sweep by Michael Billington

Lyttelton, London In JT Rogers’ engrossing play on a historic moment in the Israeli-Palestinian peace process in 1993, we are reminded that diplomacy requires duplicityJT Rogers is an Amer…

SOURCE: The Guardian at 07:06PM
Friday, September 15, 2017

Prism review – Robert Lindsay brings Jack Cardiff's movie memories into focus by Michael Billington

Hampstead theatre, LondonLindsay is magnetic as the celebrated cinematographer, who looks back over his life from Alzheimer’s-affected old age in Terry Johnson’s moving playJack Cardiff,…

SOURCE: The Guardian at 08:18AM
Thursday, September 14, 2017

Boudica review – Gina McKee reigns supreme in Brexit-baiting epic by Michael Billington

Shakespeare’s Globe, LondonMcKee brings an imposing stillness to Tristan Bernays’s play about the ancient British queen whose uprising is crushed by the RomansGina McKee plays Boudica, t…

SOURCE: The Guardian at 08:04AM
Wednesday, September 13, 2017

The Blinding Light review – Howard Brenton imagines Strindberg's inferno by Michael Billington

Jermyn Street theatre, London The Swedish dramatist’s life is shown to echo his plays in a new production about his obsession with alchemy and his relationships with three women‘Death to…

SOURCE: The Guardian at 09:54AM

Peter Hall: a titan of the theatre and a vulnerable, sensitive man by Michael Billington

In conversations with Hall over 40 years, I encountered a creative powerhouse who exuded confidence yet could be a strangely solitary figurePeter Hall was a man of infinite contradictions. I…

SOURCE: The Guardian at 05:04AM
Tuesday, September 12, 2017

The Birthday Party – review by Michael Billington

Royal Exchange, ManchesterBlanche McIntyre is one of the flotilla of female directors coming to the forefront of British theatre. But, although she's assembled a cracking cast for this reviv…

SOURCE: The Guardian at 09:42AM

Sir Peter Hall obituary: powerful force in British theatre by Michael Billington

Creator of the Royal Shakespeare Company who built up the National and championed regional playhousesSir Peter Hall, who has died aged 86, was the single most influential figure in modern Br…

SOURCE: The Guardian at 09:42AM

The March on Russia review – dreams turn to despair in David Storey's family reunion by Michael Billington

Orange Tree, Richmond In this revival of Storey’s 1989 play, set during the Thatcher era, a poignant celebration subtly turns into a state-of-the-nation drama There could no better tribute…

SOURCE: The Guardian at 09:42AM