The Audience, written by Peter Morgan, starring Helen Mirren and directed by Stephen Daldry, is one of those rare theatrical experiences which embraces and delivers all of the possibilities in a rich, perfectly-pitched and played meditation on the UK Monarchy, the office of Prime Minister and the state of the evolving UK society…If all West […]
Neil Armfield’s glorious revival of David Hare’s masterpiece about the torments, triumphs and tragedy of Oscar Wilde’s last years, The Judas Kiss, is spellbinding theatre and, but for one glaring inadequacy, would be hard to beat as revival of the year.
This is the sort of play the Donmar is famous for. An instant classic.
Ridley creates a world of conditioning, fear, faith, sacrifice, freedom, jubilation, strength, weakness, love and hate. It’s all there.
In this production, the creative team and cast have clarified Jonathan Larson’s message. By returning to the Broadway roots, recreating the ambiance of the bohemian Alphabet City of the Nineties, and focussing on the narrative drive of the show, Rent becomes relevant. This is an admirable revival of a modern classic.
Tender Naplam is a Ridlean treat; haunting, terrifying and uplifting. You will most likely not hear a more exquisite play, nor see two more compelling performances this year.
With Peter Bowles and Penelope Keith in the roles, the chemistry between them is positively infectious as the gently flirt their way through the proceedings.
When a company is having this much fun, the audience are merely there to help them ride the wave.