The acclaimed Theatre Royal Bath production of Daniel Kehlmann’s The Mentor starring Oscar winner F Murray Abraham is about to begin its West End run. The Mentor runs from June 24 to September 2 at the Vaudeville Theatre with a cast that also includes Daniel Weyman, Naomi Frederick and Jonathan Cullen. This production, translated by Academy Award-winning Christopher Hampton, marks the first time that the bestselling German author’s play has been performed outside of Germany. It is directed by Olivier Award-winning Laurence Boswell who is artistic director of Theatre Royal Bath’s Ustinov Studio where the play enjoyed a record-breaking run earlier this year – the most successful in the studio’s history. The Mentor follows cantankerous old writer Benjamin Rubin and rising star Martin Wegner – two massive egos who are set on a collision course when they come together in a dilapidated art nouveau villa somewhere in the German countryside. … Read more
We are pleased to bring you these great production images by Simon Annand of F Murray Abraham in Daniel Kehlmann’s comedy The Mentor which plays at Theatre Royal Bath’s Ustinov Studio until Saturday 6 May 2017. The play stars Academy Award-winner F Murray Abraham with Daniel Weyman, Naomi Frederick and Jonathan Cullen and is directed by Ustinov Studio’s artistic director Laurence Boswell. With a translation by leading playwright Christopher Hampton, this marks the first time a Kehlmann play has been performed outside of Germany. He previously translated Florian Zeller’s play The Father for the Ustinov Studio, launching its international success. The original production of The Mentor in German opened in Vienna in 2014. In a dilapidated art nouveau villa, somewhere in the German countryside, two massive egos are set on a collision course in this perceptive and compelling comedy about art and artists and the legacy of fame. BOOK TICKETS … Read more
The Globe is not really a space for claustrophobic intense drama and this production really brings that home. This production would look and feel very different in the Sam Wanamaker Theatre and probably should have been programmed there. The openness of the space works against the building tension in Edmundson’s writing and Dove’s direction does not utilise the wide spaces in a way which enhances or accentuates the dark, brooding and Machiavellian aspects of the religious politics and the dogma dissection.