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 →
Like The Merchant of Venice and anti-semitism, staging Shakespeare’s Tudor propagandist Richard III, has become more problematic with our changing 21st century sensibilities towards disability. Continue reading →
It’s not so much that Rupert Goold has saved his best till last. His whole vision of setting three major Greek classics in a modern context has been a triumph, not least this final one by Rachel Cusk. Continue reading →
Whether you like them or not, Rupert Goold productions are never dull. By now a Goold production is stamped with his own distinctive tropes of originality, invention and a positive sense of pleasure in over-turning sacred cows.
Mike Bartlett has written some good plays in his time – Cock,Earthquakes inLondon, My Child and more. But few have bounded off the stage with quite such cheeky perfection as his latest, a `future history play’ speculating on life when our present Prince of Wales’s assumes the throne. Continue reading →