REVIEW: Mosquitoes, National Theatre ✭✭✭✭
Slickly directed by Rufus Norris, Mosquitoes entertains and enlightens although, if I may use one of its metaphors, it lacks bite.
Joseph Quinn
Casting Announced For Mosquitoes At National Theatre
Full casting has been announced for Mosquitoes at the National Theatre. Alice is a scientist. She lives in Geneva. As the Large Hadron particle collider starts up in 2008, she is on the brink of the most exciting work of her life, searching for the Higgs Boson. Jenny is her sister. She lives in Luton. She spends a lot of time Googling. When tragedy throws them together, the collision threatens all with chaos. Mosquitoes by Lucy Kirkwood will have its world premiere in the Dorfman Theatre in July with Rufus Norris directing. The cast is Amanda Boxer, Olivia Colman (Jenny), Cait Davis, Vanessa Emme, Yoli Fuller, Paul Hilton, Joseph Quinn, Sofia Stuart and Olivia Williams (Alice). Designed by Katrina Lindsay, lighting design by Paule Constable, music by Adam Cork, sound design by Paul Arditti and video design by Finn Ross & Ian William Galloway. Mosquitoes will play at the National … Read more
REVIEW: Wish List, The Royal Court ✭✭✭✭
Winner of the 2015 Bruntwood Prize, Katherine Soper’s play explores zero contract hours Britain through brother and sister Tamsin and Dean.
REVIEW: Deathwatch, Print Room At The Coronet ✭✭✭
Deathwatch Print Room At The Coronet 14 April 2016 3 Stars About as French as a pasty, and just as heavy. Jean Genet is running amok on our London stages at the moment. After scandalising us in The Maids at the Trafalgar Studios he’s back to finish the job with David Rudkin’s translation of Deathwatch at The Print Room, Coronet, directed by Geraldine Alexander. Three convicts trapped in the same small cell struggle to maintain social order as they compete for the favour of condemned murderer Green Eyes. To a modern audience this play’s claustrophobia facilitates a deconstruction of masculinity, and Genet enjoys provoking his audience by inverting societal codes of morality as the men glamourise and sexualise their brutality. Unfortunately, these noble aspirations are suffocated under laboured and repetitive text that never feels as dangerous or as visceral as it should. Having never been to The Print Room at … Read more
