Stephen Oswald

A Filthy Take On Hamlet Comes To TheatreN16

News, Off West End
Book now for Gertrude The Cray at Theatre N16

Howard Barker’s Gertrude – The Cry is to be presented at Theatre N16 in a co-production with LWL Entertainment Ltd from 12-30 June 2016. Combining feminism, sex and objectification into his own take on Shakespeare’s Hamlet, Howard Barker’s Gertrude is a complicated, challenging and utterly filthy play. The titular Gertrude will be played by Izabella Urbanowicz (Truth and Reconciliation, Royal Court Theatre; The Session, Soho Theatre; Hamlet Peckham, The Bussey Building; What You Will: Pop Up Shakespeare, Shakespeare’s Globe; and The Crimson Petal and the White (BBC/Origin Pictures)). She also currently stars in I’m Not Jesus Christ at Theatre N16. The cast will also include Alexander Hulme (Abominations, Etcetera Theatre, and The Glass Protégé, Park Theatre) as Claudius, Jamie Hutchins (Hello Norma Jeane, Park Theatre) as Hamlet, Stephen Oswald (Nobody’s Business, King’s Head Theatre) as Cascan, LJ Reeves (Antigone, The Hope Theatre) as Ragusa, David Zachary (The Kissing Dance, Ye … Read more

REVIEW: Nobody’s Business, Kings Head Theatre ✭✭✭

Off West End, Reviews
Nobody's Business at the King's Head Theatre

Part Felicity Kendall, part Carol Channing, with just a soupçon of Jo Grant (The Doctor Who companion she first played about forty five years ago) and legs that most 30 year olds would kill for, Manning is a revelation. Watching her in this fatuous nonsense makes you pine to see her Judith Bliss, Miss Prism or Mistress Quickly: the potential that Manning has available to be mined is vast. There is something both astoundingly individual and comfortingly familiar about her: she soothes, inspires and captivates.

REVIEW: I Went To A Fabulous Party, Kings Head ✭✭

Off West End, Reviews
I Went To A Fabulous Party at the King's Head Theatre

The King’s Head has a notable tradition in supporting contemporary drama on gay themes, but sadly as things stand this new 65-minute play by And Davies does not add very many leaves to those laurels. It is not by any means without potential and with a longish run ahead in Edinburgh in August there is scope for development and refinement of both the text and the depth and authenticity of the acting.