Bertie Carvel and Richard Coyle are to lead the cast of James Graham’s new play about The Sun newspaper at the Almeida Theatre. Carvel will play a “young and rebellious” Rupert Murdoch who bought the struggling tabloid in 1969 and relaunched it as the populist publication it is today. Coyle will play Larry Lamb who took over as Murdoch’s first editor with a quest, against … Read more
Almeida Theatre Artistic Director Rupert Goold has announced a new season of plays exploring leadership in crisis and the power of words. The season will begin at the end of April with The Treatment, a play by Martin Crimp. Directed by Lyndsey Turner (returning to the Almeida following her award-winning production of Chimerica) The Treatment is set in a film studio in New York. A … Read more
This is Oresteia, not The Oresteia, the trilogy of plays (Agamennon, The Libation Bearers, The Eumenides) which won Aeschylus a prize in 458BC and which is considered the “original family drama” and the launching pad for all modern drama, but the free-wheeling, self-indulgent, filmic, and loose “adaptation” by Robert Icke which is now playing at the Almeida, kicking off Rupert Goold’s Greeks season. There are some wonderful images, some potent exchanges, some brilliant flashes of inspiration – but, overall, it does not hold together dramatically. For a production which lasts three hours and forty minutes, many many minutes are spent biding time.
It has been announced that after only five months new musical Made In Dagenham will close in the West End on April 11. The show, which stars Gemma Arterton, opened on 5 November at the Adelphi Theatre to mostly good notices but ticket sales did not follow. “Brand new, British musicals are few and far between, particularly those that can make you laugh and move … Read more
Tom Scutt’s design is overwhelmingly attractive. Seductive blue and gold enhances the structures where the action occurs – a garishly compelling sense of Venice and Las Vegas: time and space are fused in the bauble land where Antonio and Shylock take their commercial risks. Greed and choice become the central focus here.