As with so many theatres of a certain age, the bar at the Theatre Royal is proudly lined with photos of bygone productions from the golden age of repertory theatre; and there, sure enough, were the production shots of a 1986 production of this very play, Joking Apart – all duffle coats, cravats and tweed […]
This is a play where the inhabitants of a Nunnery are slain by poisoned porridge; where the daughter of a Jew becomes a Christian Nun, twice; where, having purchased a Thracian slave, owner and slave engage in a bout of one-upmanship about the vile deeds they claim to enjoy; where Friars are referred to as […]
Findlay’s production of The Merchant Of Venice, like all great productions of Shakespeare, is brimming with ideas, spoken with assurance and intelligence, and illuminates the text insightfully and vigorously. Refreshing and fascinating. Findlay breathes complexity and assuredness into Shakespeare’s play by focussing on sex and greed. But there is no shortage of hatred either.
The cast, like a fine soufflé, is full of first rate choices and rises to the occasion in exactly the right way. The singing here is glorious. The Gershwins make a lot of demands upon singers and Williams ensures that every note is hit truly and that the froth and bubble in the music is […]
Casting has been announced for the UK Premiere of The Christians by Lucas Hnath which forms part of the Gate’s Icons and Idols Season. The company of The Christians includes William Gaminara (Pastor), Jaye Griffiths (Pastor’s Wife), Stefan Adegbola (Associate Pastor), Lucy Ellinson (Congregant) and David Calvitto (Elder). For the last twenty years, Pastor Paul […]
It was announced today that Tamara Harvey has been appointed the new Artistic Director of Clwyd Theatr Cymru from August 2015. She becomes the sixth Artistic Director in the theatre’s thirty-nine year history. On her appointment Tamara Harvey said: “I am thrilled to have been invited to be the artistic director of Clwyd Theatr Cymru […]
The role of Willy Loman is very exacting, requiring great range and subtlety from the actor. The single greatest requirement, though, is for the actor to be Loman rather than to play him; there needs to be total immersion in the character, and the character’s different stages. It must be possible to see the Loman […]
Despite a delicious design from Anna Fleischle (the black velvet floor and beautifully detailed costumes especially) and some winning, often charming, performances from Catrin Stewart, Jamie Thomas King, Andy Apollo, Colin Ryan and Matthew Needham, Dunster’s production does not establish any case for Love’s Sacrifice to be revived.