Theatre

Philip Ridley is best known as the screenwriter of The Krays, in which Gary and Martin Kemp played Ronnie and Reggie as a pair of tanned and lisping choirboys. Ridley loves to bang his own gong. And he’s got enough gongs to raise quite a racket. The Smarties Prize, the W.H. Smith Mind-Boggling Book Award, the George Sadoul prize, the best director award at the Porto Film Festival. His action-packed CV even features trophies he nearly won but didn’t: the London Fringe Best Play Award (nominated); the Carnegie Medal (shortlisted). And no London writer has shown more literary potential than Ridley. He remains the only earthling ever to receive the

When I was a kid, I was taught by a kindly old Jesuit whose youth had been beguiled by George Bernard Shaw. The provocative ironies of ‘GBS’ were quoted everywhere and he was, for several decades, the world’s leading public intellectual. But as a schoolboy I found it hard to assent to the infatuations of my elders and though I relished Shaw’s aphorisms (‘we learn from history that we learn nothing from history’) I conceived a suspicion that he was smug and overrated. A babbler. Perhaps even a bore. Man and Superman, rarely revived at full length, offers us GBS with all the taps running. Imagine Fry, Brand and Norton

Torben Betts is much admired by his near-namesake Quentin Letts for socking it to London trendies. Letts is one of the few individuals who enjoys the twin blessings of a Critics’ Circle membership card and a functioning brain so his views deserve serious attention. The title of Betts’s 2012 play Muswell Hill shifts its target into the cross hairs with no subtlety whatsoever. Curtain up. Married couple, Jess and Mat, are nervily tidying their yuppie dream home in expectation of supper guests. Jess is a sex-bomb accountant. Mat is a blankly handsome scribbler whose debut novel keeps getting rejected. Then a missile strikes. Mat casually mentions his acquaintanceship with an

‘We hate the system and we want the system to pay us to say we hate the system.’ The oratorio of subsidised theatre rises, in triumphant blast, at the Royal Court whose current empress Vicky Featherstone has chosen to direct an interesting new play by Zinnie Harris. I’d call it a quasi-symbolist extraterrestrial tragicomic chicklit road-movie spoof with Chomsky-esque anti-corporate neo-collectivist socioeconomic textual underpinning but I fear this may lend it a clarity of purpose, and a firmness of character, which it doesn’t quite possess. We start with Dana, a chippy frump on the last lap of her sex life, bedding a UN drudge named Jarron who claims to be

Big event. A new play from Sir Tom. And he tackles one of philosophy’s oldest and crunchiest issues, which varsity thinkers call ‘the hard problem’. How is it that a wrinkled three-pound blancmange sitting at the top of the spinal cord can generate abstract thoughts of almost limitless complexity? In real life Sir Tom is said to have such a flair for philosophical chitchat that he can fire off searching observations about Descartes, mind-body dualism, the nature of immateriality, being and non-being, the ‘cogito’ and so on, until those around him have slithered into a coma. Which is not rude of them. It’s perfectly acceptable to pass out during an

Gay plays crowd the theatrical canon. There are the necessary enigmas of Noël Coward, like The Vortex or Design For Living, which are slyly aimed at an audience of knowing code-breakers. There are the proud, defiant (and rather tedious) pleas for understanding like La Cage Aux Folles. And the gayest of them all, My Night With Reg, is also the least overtly gay because it dispenses with all homosexual caricatures. There isn’t an interior designer, a flight steward or a hair stylist in sight, let alone a Liberace fetishist, or a Maria Callas wonk. The characters are mainstream yuppies who are exactly like hetero folk, except that they seduce one

A knockout show at the Young Vic. Literally. The stage has been reconfigured as a boxing ring to make Mike Bartlett’s play, Bull, feel like a sporting fixture. This is a common conceit, even a cliché, but here it’s done superbly. The auditorium floor is squash-club yellow and the stage is surrounded by a casual standing area that creates the ragged informal atmosphere of a training arena. Excellent stuff. The play is a wordy, tricky, shifty, nasty, faithless thing. The characters lie about their backgrounds so it’s hard to know who, or what, to latch on to. More problematically the plot is infertile. Nothing grows or develops. At curtain-fall the

A new year must start with hope and resolution, and if you’re very rich, with influence in the highest places, I’d urge you to resolve to dust off the private jet and get to Paris quick this weekend hoping to find a ticket somehow for the last Châtelet performances of An American in Paris, Christopher Wheeldon’s s’wonderful, s’marvellous new staging of the Gershwin/Minnelli musical film. Or book for New York in March when the show moves to its second home on Broadway. But surely there must be a UK run soon. It’s the first big dance-musical of the Royal Ballet’s favourite son, which is why we should pay attention. The

1. The play of the year, by a mile, was Fathers and Sons at the Donmar adapted from Turgenev’s novel. Lindsey Turner directed Brian Friel’s harrowing and exhilarating script with immense visual aplomb. 2. Fings Ain’t Wot They Used T’Be Lionel Bart’s first musical was a sublimely witty look at the Cockney underworld starring Gary Kemp. 3. The Realness A new song-and-dance comedy at Hackney Downs Studio, approached the same material as Fings but with a punchier and more contemporary style. 4. I Can’t Sing! The exhilarating title melody of this musical set my nape tingling with static electricity and I was convinced that Harry Hill’s X-Factor spoof would stick around