The Lyric Hammersmith's "Secret Theatre" project has been much discussed, praised, and derided, and I won't try to recap the project itself " my knowledge of what the company has been up to …
A really quick post, because I’m not really competent to write anything like a serious piece on a Beckett play. Three bits I can say: 1. I can’t recall the last time a play made …
The Sam Wanamaker Playhouse, the Globe’s new indoor space, is really as small as all the reviews say. I thought the critics were exaggerating, but no: it’s tiny, a mere 40 by 55 …
I saw the original production of London Road at the Cottesloe in 2011, was blown away by it then, and wrote about the show in the early days of this blog. It remains one of my favourite piec…
A couple of days ago, Howard Sherman, a US “arts administrator and producer,” “communications, marketing, and branding consultant,” and “theatre pundit” p…
It may be a bit contrary of me to say that Rylance is the single most remarkable " really, the only remarkable " thing about the current Broadway productions of Twelfth Night and Richard III…
Three of the shows I saw in New York had something in common: all were remarkable and memorable although none of them took an especially interesting, inventive, innovative, least of all radi…
Needless to say, this is a spoilerfest. I had my problems with all of Season 3 of Sherlock, to be honest. “The Empty Hearse” was overstuffed with endless montages of swooping sho…
One of the most striking aspects of my current New York theatre binge: the programs theatres hand out around here. Or rather, don’t hand out. Judging from the standard-issue brochure, …
Visually, this is a stunning production. The Polonsky Shakespeare Center, opened this season, is a remarkable space — a broad and deep thrust four stories high, configurable with all s…
A fairly hasty post, but if I don’t write it now, I won’t have time to write it at all, and I’d like to write it. This morning, Michael Wheeler published an interesting pie…
This isn’t a post so much as a call for responses. In some of the comments on my “Youth Problem” post, both on the blog and on Facebook, a thread was emerging that suggeste…
First things first: Red One Theatre’s production of Patrick Marber’s After Miss Julie, directed by David Ferry, is pretty great. It’s gritty, intense theatre, unafraid and …
A couple of weeks ago when I was in Vienna, attending a congress celebrating the 125th anniversary of the Burgtheater’s current home, an utterly over-the-top theatre palace and one of …
For your delectation, a small collection of trailers, reports, and cast interviews from a fairly rich array of recent productions of Romeo and Juliet, mostly from English- and German-speakin…