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 →
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.