REVIEW: Shipwreck, Almeida Theatre ✭✭✭
Helena Payne reviews Anne Washburn’s Shipwreck directed by Rupert Gould now playing at the Almeida Theatre.
Helena Payne reviews Anne Washburn’s Shipwreck directed by Rupert Gould now playing at the Almeida Theatre.
The Donmar Warehouse production of The Way Of The World looks fabulous, with Anna Fleishle’s design and Ilona Karas and her costume team being the stars of the show.
Following a critically acclaimed, sold-out season at the National Theatre, David Eldridge’s anti-romance Beginning will transfer to the Ambassadors Theatre
At times very funny, Beginning also has moments of heart-breaking intensity but without becoming sentimental. It is a masterful two-hander that will especially resonate with anyone who finds themselves single as they face middle age.
Dominated and ultimately hindered by its unfortunate subtext, Bodies leaves its audience feeling uneasy for all the wrong reasons.
The Royal Court Theatre has announced casting for their upcoming production of Bodies by Vivienne Franzmann. Bodies will play from 5 July – 12 August 2017 at the Jerwood Theatre Upstairs at the Royal Court. This new play explores the human cost of surrogacy and what we overlook to get what we want. The cast of Bodies includes Lorna Brown (Torn and Clybourne Park – Royal Court, Oresteia – Almeida/West End), Brian Ferguson (Adler & Gibb – Royal Exchange, Oil – Almeida, The Broken Heart – The Globe), Philip Goldacre (Broken Glass – National Theatre, West – Donmar), Salma Hoque (East Is East – West End & UK Tour, Drawing The Line – Hampstead), Justine Mitchell (Gastronauts – Royal Court, The Resistible Rise of Arturo Ui and King Lear – Donmar) and Hannah Rae (Great Expectations – Rose Kingston, TV – Broadchurch). Bodies will be directed by Jude Christian, designed by … Read more
For anyone feeling exhausted and frustrated with the political status quo and the depressing direction of international politics as a whole, I urge you to go to The Resistible Rise Of Arturo Ui.
I doubt anyone could hope for a finer, more delicate production of this great play. It is genuinely funny in parts, full of melodramatic touches which are not silly but insightful, and incredibly moving when the final scenes play out. Davies is at the top of his game here- this is a symphony of theatrical pleasure. It should transfer to the West End and play and play. Producers should not be fearful of a good old-fashioned triumph.
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