REVIEW: Frankenstein, Wilton’s Music Hall ✭✭✭✭
George Fletcher embodies the Creature with sinuous movement and anguished expression with no need for extra make-up.
George Fletcher embodies the Creature with sinuous movement and anguished expression with no need for extra make-up.
We asked our reviewers to take a look at 2016 and to nominate some stand out productions for 2016. Mark Ludmon replied with the following:- In another wonderful year for British theatre, one of my highlights was Annie Baker’s The Flick at the Dorfman at the National Theatre, unfolding the quiet desperations and joys of young people working at a small independent cinema in Massachusetts. Despite its running time of three-and-a-quarter hours and long silences, it was an absorbing, beautiful play with perfectly pitched performances. A powerful performance by Billie Piper made Yerma at the Young Vic stand out for me. Simon Stone’s modern adaptation played pretty freely with Lorca’s original, creating a stunning, heart-breaking drama about the despair of childlessness, played out within a glass box to add to a feeling we were glimpsing private horrors. My favourite show of the year has come at the end: Schiller’s Mary … Read more
The Children is a thought-provoking play that entertains while presenting us with a dilemma about the responsibilities we all have to face.
This production brings out Schiller’s themes in a compelling and lucid way while also being an exciting political thriller and a very personal drama about two women trapped by forces greater than themselves.
Despite the downbeat ending to Love’s Labour’s Lost and the troubles over Claudio and Hero’s wedding in Much Ado About Nothing, the two plays are very funny and thoroughly entertaining, whether enjoyed singly or, ideally, seen together.
While we may have no actual glass slippers or fairy godmother, this is a magical production full of laugh-out-loud humour and delightful songs – enough to satisfy the most demanding of the musical’s fans.
The joy of the play and the original text comes from the inverted morality of Screwtape’s world, where good is bad and sinning is applauded.
It cleverly blurs the line between reality and what we are seeing on stage in a way that is unsettling and leaves you questioning the theatrical experience itself.