Are you happy? This play asks. Once from the precocious voice of a young girl at her birthday party. But it’s implicit continually. Are you happy? Are you happy? Are you happy?
Jez Butterworth’s brilliance is found somewhere in the way that he sets up conflict – a sense of […]
There’s this base on Pluto. We’re stranded there. The world is set all wonky. Everything is very clean.
This summer, the Pit Bar space at the Old Vic will transform into an all-day café called Penny imagined by the team behind Milk, Balham, and Fields, Clapham. It will open in September! The announcement made me think about all my favourite theatre bars and cafes in London. Which are your favourites?
Constellations is cleverly based around some kinda quantum theory but you you don’t need to get the theoretical physics to understand that it’s about what would happen in a relationship between a boy and girl if they made subtly different choices.Or do they even have the free will to make those choices?
Political theatre has been declared the nation’s debating chamber. Democracy and theatre have always gone hand in hand – both starting their western lives in ancient Greece. Scholars emphasise the the civic ideology of the festivals of Greek drama in Athens. So what is on the British stage in the run up to the General Election? Plenty. Get stuck in.
The reigning triumph of this foray into internet culture is the absence of the digital on stage. At every […]
Lisa Dwan returns to the Royal Court reprising her performance last year of Not I, alongside Footfalls and Rockaby. This one-woman ‘Beckett Trilogy’ has been directed by Beckett’s long-time collaborator and friend, Walter Asmus. All three of the plays showcased Billie Whitelaw at their premieres, who has tutored Swan in the part of the mouth.
Beckett perhaps is best known for Endgame (the one with the dustbins) and Waiting for Godot (the one with all the waiting). But the rapidity with which this trilogy sold out both its run at the Royal Court and its West End transfer, in addition to the announcement of its forthcoming tour this autumn, are both testaments to the appeal of Beckett’s later works. The run at the Duchess Theatre has given back some integrity to the so often money-spinning West End stage. These plays are challenging, and a challenge to watch, with their annihilating suspension and subversion of meaning.