The good, the bad and the ugly in books, exhibitions, cinema, TV, dance, music, podcasts and theatre.
Uncle Vanya opens with a puzzle. Is the action set in the early 20th century or right now? The furnishings might be modern purchases or inherited antiques, and the costumes are also styled ambiguously. It soon becomes clear from Conor McPherson’s script, which uses colloquialisms like ‘wanging on’, that this is a contemporary version. It’s
Falling In Love Again features two of the 20th century’s best-known sex athletes. Ron Elisha’s drama covers a long drunken night spent by Marlene Dietrich and Edward VIII at Fort Belvedere, near Windsor, on the eve of Edward’s abdication in December 1936. It sounds like a contrived premise for a play but Elisha, who researches
The Duchess of Malfi is one of those classics that everyone knows by name but not many have witnessed on stage. So a production is likely to attract theatre-goers who feel they ‘ought to’ see it rather than ‘want to’. This may have affected the Almeida’s version which is opaque and almost impossible to follow.
Fairview by Jackie Sibblies Drury won last year’s Pulitzer Prize. It deserves additional awards for promoting racial disharmony and entrenching false, divisive and outdated stereotypes. The title is a pun. ‘Fair’ means ‘white’ and ‘view’ means ‘world outlook’ or ‘prejudice’. Really it ought to be called Honky Bias. The script declares its fascination with antique
I’ve joined the Black Panthers. At least I think I have. I took part in an induction ceremony at the start of Messiah at Stratford Circus. ‘Stand up,’ said the actor Shaq B. Grant to the predominantly white crowd. ‘Raise your right fist and repeat after me: “I am a revolutionary.”’ Everyone obeyed and chanted
Oh my God. The Nazis have invaded the Arcola Theatre. Norwegian novelist Knut Hamsen won the Nobel Prize in 1920 and later became such an ardent fan of Hitler that he sent his Nobel gong to Goebbels as a token of his admiration. The Arcola admits these demerits in the programme notes. What it overlooks
David Walliams is one of the biggest-selling children’s authors in the world (having shifted some 25 million copies in more than 50 languages). And he’s now become the first children’s novelist since Roald Dahl to have their book turned into a full-scale RSC musical extravaganza. As fun as these big musicals might be, they aren’t
The history plays are different. In dramas like Othello, Hamlet and Much Ado, Shakespeare laid out the plot with great clarity because the stories were new, or newish, to his audiences. But Richard III belonged to the recent past. The wonky monarch’s death predated the play’s debut by just over a century, so Richard’s era
Dear Evan Hansen, by Steven Levenson, opens as a standard American teen-angst musical. Evan is a sweaty geek with a crush on Zoe Murphy whose rebellious brother, Connor, is so disturbed that he styles his hair to suggest ‘school-shooter chic’. Evan tries to befriend Connor but gets shoved to the ground. Then, a bombshell. Connor
When the RSC does modern drama it usually lays on an ultra-worthy yarn with a huge cast, dozens of fancy costumes and a three-hour running time. Miraculously, its new co-production with the Arcola avoids these faults and delivers a terse, gripping 75-minute documentary drama based on the prison diary of Turkish journalist, Can Dundar. In
The Antipodes, by the acclaimed dramatist Annie Baker, is set in a Hollywood writers’ room. Seven hired scribblers are brainstorming a new animated feature under the direction of a mysterious, bearded multimillionaire, Sandy, who seems thoroughly bored with the movie-making process. The script is in its early stages and Sandy decrees that the central character
The Royal Court is the theatre’s answer to Islamic State, a conspiracy of nihilists fascinated with death, supported by groups of self-flagellating puritans, and committed to inflicting pain on all who stray into its orbit. The latest fatwa from Sloane Square concerns the imminent demise of the Welsh language — an emergency for which there
No power on earth can stop Lungs from becoming an international hit. Duncan Macmillan’s slick two-handed comedy reunites Matt Smith and Claire Foy from The Crown. It’s short (90 mins), it has a minimalist set (‘arty’), and it makes no intellectual demands on the crowd (phew!). Best of all, it parrots all the ecological prejudices
Athol Fugard likes to dump his characters in settings with no dramatic thrust or tension. A prison yard is a favourite. He specialises in bored, talkative characters who squirt the time away swapping memories and indulging in bursts of creative play-acting. It’s dull to watch but good fun to perform. Thesps love to step out
The Man in the White Suit, famously, is a yarn about yarn. A brilliant young boffin stumbles across an everlasting polymer thread but when he tries to profit from his discovery he faces unexpected ruin. There are only three beats in the story — breakthrough, triumph, disaster — so it needs to be elaborated with
Michael Frayn’s backstage comedy, Noises Off, is the theatre’s answer to Trooping the Colour. Everyone agrees that it’s an amazing display of synchronised choreography but does anyone actually want to see it? Yes, to judge by the press-night crowd at the Garrick. The joint was packed. The show opens at the dress rehearsal of a
Caryl Churchill is back at the Royal Court with a weird collection of sketches. The first is set on a mantelpiece where a clock, a vase, a statuette and a plastic dog discuss their lives. These ornaments morph into human teenagers. One is a lad who wants to die after being raped by his father.
Tony Hawks’s musical, Midlife Cowboy, has transferred from Edinburgh to the Pleasance, Islington. At press night, the comedy elite showed up (Andy Hamilton, Angus Deayton, Caroline Quentin, Alistair McGowan) to see Hawks playing a songwriter, Stuart, whose marriage is on the rocks. To revive his love life, Stuart puts his wife in charge of the
Pub quiz question: what do John Osborne, Brian Friel and Patrick Marber have in common? The answer is they’ve all written their own versions of Hedda Gabler. Although none of them, it should be noted, to any particular critical acclaim. Is it time to give up on the Hedda adaptations altogether and just stick to
Lynette Linton opens her stewardship of the Bush with a drama about racial and sexual bigotry. Four British women decide to start a girl band but only one of them, Yomi, happens to be straight. The script mixes confessional monologues with bitchy interactions over kitchen suppers. Beth, whose parents are West Indian, once dreamed of
Hansard is the debut play by actor Simon Woods, who enjoys a deep knowledge of his subject. The characters are a middle-aged couple, the Heskeths, who occupy ‘a country house in Oxfordshire. Georgian. Good bones. Not large’. The year is 1988 and Robin is a busy Tory MP whose wife Diana has realised that she
The Secret River opens in a fertile corner of New South Wales in the early 1800s. William, a cockney pauper transported to Australia for theft, receives a pardon from the governor and decides to plant a crop on 100 acres of Aboriginal land. His doting wife, Sal, begs him to take her and their young
Stephen Fry lies prone on an empty stage. A red ball rolls in from the wings and bashes him in the face. He stands up and introduces himself as Odysseus, stranded on an island-kingdom as he makes his way home after the Trojan War. The ball had escaped from the hands of a clumsy maidservant
Some of the marketing efforts by amateur impresarios up in Edinburgh are extraordinary. I was handed a leaflet for a poetry show called Don’t Bother. I didn’t. Tony Slattery appears in Slattery Will Get You Nowhere (a good pun that advertises the content), in which the ageing comic takes the audience back to the 1990s.
Clive Anderson’s show about Macbeth, ‘the greatest drama ever written’, offers us an hour of polished comedy loosely themed around the Scottish play. Shakespeare’s material is still topical, he says, ‘a clever Scot with a rampantly ambitious wife, like Michael Gove and Sarah Vine’. He prefers Macbeth to Hamlet which is ‘about some bloke who
Games for Lovers feels like a smart, sexy TV comedy. Martha is still in love with her old flame Logan whose new girlfriend has a huge libido which he can’t hope to satisfy. When Martha starts flat-hunting she answers an advert coincidentally posted by Logan’s best friend, Darren. Thus, perhaps too neatly, the two warring
Equus is a psychological thriller from 1973 which opens with a revolting discovery. An unbalanced stable-lad, Alan, spends his evenings taking the horses out for an illicit gallop. Meanwhile, he’s busy seducing a hot young cowgirl at the farm but his awakening sexuality confuses him. The girl’s erotic nature brings out his closeted gay side
The National Theatre’s boss, Rufus Norris, has confessed that he ‘took his eye off the ball’ when it came to female writers and he plans to strike an equal balance between the sexes in future. Good news for male scribblers who’ll know that they’ve been selected on merit but rather demoralising for females who’ll suspect
Europe. Big word. Big theme. It was used by David Greig as the title of his 1994 play about frontiers in the age of mass migration. The setting is a railway station in eastern Europe and it opens like a kids’ TV show with each character entering and doing something ‘typical’. Everyone is either good