Robert Icke is far too clever a theatre magician for it to be accidental. But there are moments when his updated, deconstructed and completely reimagined version of Ibsen’s Wild Duck comes over as a bit of a lecture in keeping with one of the Almeida’s former lives as a lecture theatre for the Islington Literary and Scientific Society. Continue reading →
Rupert Goold’s tenure hardly puts a foot wrong these days.
True I’ve missed a couple of events the past few months – including Ella Hickson’s The Writer which divided everyone apparently. But here’s another cracker from the Goold stable. And nobody could accuse Goold of ignoring 50% of the population in his choices. After Mike Bartlett’s Albion last year with its central female protagonist, and Hickson’s feminist oriented writer, here is Natalie Abrahami’s terrific revival of Sophie Treadwell’s 1928 humdinger of a `masterpiece’ (is there another word?!). Continue reading →
They do produce some crackers at Rupert Goold’s Almeida. Say what you like about the plays – and they’re mostly four/five stars in any case – they, the productions, nearly always pack a hefty punch. Continue reading →
He likes his politics and history does James Graham who has given us some cracking examples of the unholy alliances that pass for politics in this and probably every country, starting with Eden’s Empire a decade ago and leading up to the blissfully funny The Vote (Donmar) on Election Night 2015 and This House, now setting off on a national tour. Continue reading →
So the `new world order’ is upon us but maybe not quite as many of us might have expected or hoped for. And if the new order of things continues as recently indicated, Ella Hickson’s vision will surely turn out to be bleakly prophetic. Continue reading →
Adam Brace’s Stovepipe, about the `reconstruction’ of Iraq after the war, was one of the highlights of 2009. Brace, a former journalist, wove a compelling picture of characters drawn to `theatres’ of war, the dirt, the dust and the human mess of it all. I loved Michael Longhurst’s promenade production, too, and his subsequent work with Nick Payne’s Constellations, Linda and Remembrance Day all at the Royal Court. Continue reading →