Culture

Southwark Playhouse is beating the latest lockdown with a zingy new musical about social media. The performers, Francesca Forristal and Jordan Paul Clarke, remember the far-off days when Facebook was just a harmless supplement to ordinary social interactions. How did it turn into a freedom-gobbling corporate monster? We meet the Zuckerbergs, Mark and Priscilla, as

Flight has been hailed as a new form of dramatic presentation — prefab theatre. It’s great to look at. A set of model boxes containing stick figures and colourful landscapes slides past the seated viewer while a voiceover reads the narrative. No thesps are required, which may be a relief to producers and directors but

Love Letters by A.R. Gurney began life as an epistolary novella about two childhood friends, Andy and Melissa, whose on-off romance is traced through an exchange of letters lasting 50 years. In 1988, the script was turned down by the New Yorker magazine: ‘We don’t publish plays.’ Gurney hired an actress, Holland Taylor, and together

Potted Panto is a 70-minute parody presented by two burlesque comedians. Jeff is a tall, playful bungler and his colleague, Dan, is a squat, dour authoritarian who likes to see everything done efficiently. They leap on stage and declare their plan to present a compendium of the best-known Christmas shows. ‘All six of them,’ says

The Flying Lovers of Vitebsk begins with a phone conversation between a pretentious art critic and a man called Marc. This turns out to be Marc Chagall, the expressionist painter, who was born in Vitebsk in Belarus in 1887. It would have been helpful to include his name in the title. Emma Rice, the director,

Blackeyed Theatre is another victim of the virus. Its production of Jane Eyre was midway through a UK tour, and due to visit China for a month, when the pandemic shot its plans to bits. Last month the show was revived on stage and committed to film. Kelsey Short (Jane) leads a team of just

Sasha is angry. He’s a gay artist on his way to his niece’s birthday party and he keeps popping codeine pills to get him through the dull ceremony ahead. His devoted boyfriend, Chet, hasn’t realised that Sasha’s drug habit is a full-blown addiction but Sasha is highly secretive. He shows us two sides of his

Emilia is a period piece about Emilia Bassano who may have been the ‘dark lady’ of Shakespeare’s sonnets. The writer, Morgan Lloyd Malcolm, declines to turn the subject into a history play and instead creates a larky sketch show with snippets of literary gossip. Our heroine enters as a frightened teenager contemplating the horrors of

Death of England: Delroy is a companion piece to Death of England, which ran in February at the NT and examined the white working classes. Here the focus is on a successful black Briton, Delroy, who votes Tory and feels at home in multicultural society. The charismatic Michael Balogun plays him as a complex, shrewd

It’s touch and go whether the theatre will survive this latest assault. Some venues have pushed back their entire programme by four weeks, which is chaotic but manageable. Theatres mounting a panto are in a trickier position because they can’t trust Gove and Johnson not to extend the curfew into the festive season. November is

Theatres can open if they want to. That’s the current position. The only factor keeping a playhouse dark is a lack of guts or imagination on the part of its leadership. A small pub in Vauxhall, The Eagle, is mounting new plays in its garden space to raise everyone’s morale. Punters must wear masks and

In Bad Taste is a slapstick comedy about five female terrorists who murder the governor of the Bank of England. They chop him to pieces, cook him in a casserole and devour the lot. Their plan is to ‘eat the rich’, literally, and to trigger a worldwide revolution. After this grimly hilarious opening the script

Southwark Playhouse has revived an American show, The Last Five Years, whose run was cancelled in March. In advance, I received an email outlining the theatre’s new rules, which appeared to exceed the minimum legal requirements. At the venue, I found that the main entrance had become the exit while the side door had become

When Kwame Kwei-Armah took over the Young Vic a ‘Black Lives Matter’ sign was strapped to the front of the building. One of BLM’s aims is the overthrow of capitalism and it’s widely assumed in theatreland that Kwame, who is great fun to meet, has embraced this goal by adjusting the Young Vic’s pay structures so that

The season of Alan Bennett’s Talking Heads continues at the Bridge. In The Hand of God we meet Celia, a posh antiques dealer, who befriends old maids in the hope of acquiring their valuables cheaply. Like everyone in her trade she uses play-acting and mind games to give her the advantage while haggling. If her

What has happened to Rada? The Royal Academy of Dramatic Art is the latest arts establishment to have gone mad. In the summer, it issued a self-flagellating public statement that it was institutionally racist and would ‘decolonise the curriculum and end racism’. The ‘actor-vists’ are clearly unhappy with the place. They should all be busy

Covid marshals have invaded theatreland. Arriving for a weekday matinee at the Bridge, I was greeted by stewards holding up illuminated boards. ‘PLEASE WEAR A FACE COVERING.’ Inside, the seating had been rearranged into clumps of twos and threes with the odd single perch sticking out like a toadstool. Nicholas Hytner offered us a pair

It has roughly the same proportions as Shakespeare’s Globe. The Roman Theatre in Verulamium (St Albans) is an atmospheric ruin with low flint walls, a banked rampart and a single stone column. Historians estimate that the circular space, measuring about 40 yards in diameter, would have enabled 7,000 spectators to watch plays, gladiatorial contests and

For nearly six months our subsidised playhouses, notably the National Theatre, have been dark. What have we missed? Not much. Some would say nothing at all. And this has come as a surprise to those of us who were led to believe that the subsidised theatre is critical to ‘the national conversation’. It turns out

The virus has broken Edinburgh. The shattered remnants of the festival are visible on the internet. Here’s what happened. The international festival has been reduced to one filmed theatre commission and a handful of videoed musical offerings. The Fringe has survived but in a horribly mutilated form. Two of its most prestigious brands, the Pleasance

Okay, I admit it. I have a girl crush on Juliet Stevenson. Ever since I first saw her in the 1990 film Truly, Madly, Deeply with Alan Rickman, I have loved her sexy, round and intelligent tones. Imagine how excited I was to discover, therefore, that you can have Juliet in your ear for a

So the madness continues. Planes full of passengers are going everywhere. Theatres full of ghosts are going bust. My first press night since March took place at a monumental Victorian building in Wandsworth where concerts are staged in an open-air courtyard. The entry process was less fussy than I’d expected. I didn’t need my phone

Back to the West End at last. After a four- month lay-off, I grabbed the first available chance to catch a show in central London. I joined 20 enthusiasts at the ‘West End Musical — Silent Disco Walking Tour’, which convened outside a Fitzrovia pub. We were given a pink bracelet and a set of

‘Give us a date, mate!’ That was the sound of Andrew Lloyd Webber begging Boris Johnson to announce when the West End can return to normal. He made his plea at the London Palladium on 23 July, where he was testing a new set of Covid-compliant measures during a one-hour solo show by Beverley Knight.

The BBC announces Merchant of Venice as if it were a Hollywood blockbuster. ‘In the melting pot of Venice, trade is God.’ The RSC, which staged the show in 2015, calls it ‘a thrilling, contemporary interpretation’. Each element in Polly Findlay’s production looks fine. Jacob Fortune-Lloyd and Patsy Ferran (Bassanio and Portia) are as cute

Let’s face it. Theatre via the internet is barely theatre. It takes a huge amount of creativity and inventiveness to make anything remotely like a theatrical drama in the digital sphere. The BBC’s Culture in Quarantine team have invited some talented writers and actors to try and crack it. Unprecedented begins with ‘Viral’, by James

The RSC’s 2014 version of Much Ado is breathtaking to look at. Sets, lighting and costumes are exquisitely done, even if the location is not established with absolute clarity. The date is Christmas 1918 and we’re in a stately home that has been converted into a billet, or a hospital, for returning soldiers. The prickly

Nicholas Hytner’s A Midsummer Night’s Dream opens in a world of puritanical austerity. The cast wear sombre black costumes and Oliver Chris, with menacing swagger, brings a note of palpable sadism to the role of Theseus. Then things relax as the ‘mechanicals’ in modern boiler suits prepare to rehearse the play. Hammed Animashaun (Bottom) dominates