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GLISSEMENTS
On the occasion of the festival d’automne in Paris, Myriam Gourfink choreographed dance performance for the rooms of the famous Nymphéas, painted by Claude Monet between 1914 and 1926. The concept is particularly exciting: you enter the museum at night, the two musicians are already present in the two rooms of the paintings andthen you wait
FEMALE TRANSPORT
Ustinov Studio, Bath. T h ere’s been a surge in interest in women’s prison dramas following the success of Netflix series Orange Is The New Black, andFemale Transport takes this focus back to the early 1800s and the women headed to the penal colony of Australia. The play makes use of time jumps to portray the progression of a six month voyage over a couple of hours, and we watch theSLEEP NO MORE
The McKittrick Hotel, New York City. The McKittrick Hotel is dark. It’s one of the first things you must adapt to if you are to make your way in the world that is Sleep No More.In one of the many, many rooms, at a bar made entirely of cardboard and lit only by a dim lamp, a man is silently offering a deck of cards to the spectators on the other side of the bar. A VERY VERY VERY DARK MATTER Martin McDonagh’s ‘A Very Very Very Dark Matter’ seems, by turns, to be a hard-hitting lampoon of the western attachment to canonical white male writers, and an uncomfortable pantomime that got lost on its way to a performance at Jacob Rees-Mogg’s house. The script is deliberately, eye-poppingly offensive, stuffed with brazenhumour of the very
ORANGES & ELEPHANTS
Musical. Written by Lil Warren (book and lyrics), Jo Collins (music) Directed by Susie McKenna. Cast: Kate Adams, Rebecca Bainbridge, Susannah van den Berg, Jo Collins, Rosalind Ford, Liz Kitchen, Natasha Lewis, Sinead Long, Kate Marlais, Christina Tedders, Sarah J Warren. Hoxton Hall, London. Until 10th February 2018.F*CKING MEN
ucking Men originally appeared at The King’s Head Theatre in 2009, running for 9 months – an unusually long time in the world of fringe theatre. Now, Joe DiPietro’s sensitive, interesting piece about London’s gay community has returned home, with thoroughly engaging results. The play focuses on the lives of 10 gay men, with wildly AN OVERVIEW OF HAMLETMACHINE An overview of Hamletmachine. Emily Louizou. 25/07/2016. How to survive – and make a show! – in an old unsused warehouse near Tower Bridge. By the director Emily Louizou. Hamletmachine has definitely been a very challenging piece to direct. An orgy of deconstruction as I’ve liked calling it.OPHELIAS ZIMMER
Ophelias Zimmer – the product of a collaboration between the director Katie Mitchell, the designer Chloe Lamford, and the playwright Alice Birch – retells Shakespeare’s Hamlet from Ophelia’s perspective. Hamlet’s affections suddenly start to seem both oppressive and self-centred. The same sequence is repeated manytimes over: he
EAST | PLAYS TO SEEAUTHOR: NICHOLAS POTTER East by Steven Berkoff is a comic play about London’s East End. Five characters relay tales about their shady lives in a rough district, covering the bases of romance, family and friendship. The murkiness of the action is offset by the elevated Shakespearean idiom that the characters speak in. The younger generation, Mike (James Craze), LOLITA | PLAYS TO SEE he Duke of Hamilton’s theatre, nestled underneath the Hampstead pub, is a tiny, cellar-like space which makes for a perfect setting for the claustrophobic intimacy and interrupted secrets, and hidden lives, of Victor Sobchak’s ‘Lolita’. The audience feel like they are eavesdropping on the action– uncomfortably, semi-exposed, and the benches jut into the stage, whileGLISSEMENTS
On the occasion of the festival d’automne in Paris, Myriam Gourfink choreographed dance performance for the rooms of the famous Nymphéas, painted by Claude Monet between 1914 and 1926. The concept is particularly exciting: you enter the museum at night, the two musicians are already present in the two rooms of the paintings andthen you wait
FEMALE TRANSPORT
Ustinov Studio, Bath. T h ere’s been a surge in interest in women’s prison dramas following the success of Netflix series Orange Is The New Black, andFemale Transport takes this focus back to the early 1800s and the women headed to the penal colony of Australia. The play makes use of time jumps to portray the progression of a six month voyage over a couple of hours, and we watch theSLEEP NO MORE
The McKittrick Hotel, New York City. The McKittrick Hotel is dark. It’s one of the first things you must adapt to if you are to make your way in the world that is Sleep No More.In one of the many, many rooms, at a bar made entirely of cardboard and lit only by a dim lamp, a man is silently offering a deck of cards to the spectators on the other side of the bar. A VERY VERY VERY DARK MATTER Martin McDonagh’s ‘A Very Very Very Dark Matter’ seems, by turns, to be a hard-hitting lampoon of the western attachment to canonical white male writers, and an uncomfortable pantomime that got lost on its way to a performance at Jacob Rees-Mogg’s house. The script is deliberately, eye-poppingly offensive, stuffed with brazenhumour of the very
ORANGES & ELEPHANTS
Musical. Written by Lil Warren (book and lyrics), Jo Collins (music) Directed by Susie McKenna. Cast: Kate Adams, Rebecca Bainbridge, Susannah van den Berg, Jo Collins, Rosalind Ford, Liz Kitchen, Natasha Lewis, Sinead Long, Kate Marlais, Christina Tedders, Sarah J Warren. Hoxton Hall, London. Until 10th February 2018.F*CKING MEN
ucking Men originally appeared at The King’s Head Theatre in 2009, running for 9 months – an unusually long time in the world of fringe theatre. Now, Joe DiPietro’s sensitive, interesting piece about London’s gay community has returned home, with thoroughly engaging results. The play focuses on the lives of 10 gay men, with wildly AN OVERVIEW OF HAMLETMACHINE An overview of Hamletmachine. Emily Louizou. 25/07/2016. How to survive – and make a show! – in an old unsused warehouse near Tower Bridge. By the director Emily Louizou. Hamletmachine has definitely been a very challenging piece to direct. An orgy of deconstruction as I’ve liked calling it.OPHELIAS ZIMMER
Ophelias Zimmer – the product of a collaboration between the director Katie Mitchell, the designer Chloe Lamford, and the playwright Alice Birch – retells Shakespeare’s Hamlet from Ophelia’s perspective. Hamlet’s affections suddenly start to seem both oppressive and self-centred. The same sequence is repeated manytimes over: he
GLISSEMENTS
On the occasion of the festival d’automne in Paris, Myriam Gourfink choreographed dance performance for the rooms of the famous Nymphéas, painted by Claude Monet between 1914 and 1926. The concept is particularly exciting: you enter the museum at night, the two musicians are already present in the two rooms of the paintings andthen you wait
FEMALE TRANSPORT
Ustinov Studio, Bath. T h ere’s been a surge in interest in women’s prison dramas following the success of Netflix series Orange Is The New Black, andFemale Transport takes this focus back to the early 1800s and the women headed to the penal colony of Australia. The play makes use of time jumps to portray the progression of a six month voyage over a couple of hours, and we watch the TROY STORY | PLAYS TO SEE Amanda Hadingue, Greg Haiste, and Georgia Landers in particular bring their characters to life, as the wooden horse hoves into view and brings about the city’s destruction. Likewise, in the stories of the Cyclops and the Sirens, the actors work comfortably with the medium to bring to life both the pastoral idyll and gory horrors of the firstTHE OVERCOAT
he Overcoat at New Cross’ small, subterranean theatre is situated at one remove from Gogol’s original story about a dreary office worker who rises briefly to prestige thanks to a handsome overcoat that he buys only to lose the overcoat and with it his life. The company aims to bring Buster Keaton’s 1954-5 McCarthy eraTHE CULT PLAY
“Welcome to the sanctuary. Please turn off your cellphones and put your coats and bags under the chairs.” That is the greeting that soft-voiced and bohemian-dressed woman meets you with upon entering the theater space. (This is assuming, of course, that you can find the hidden basement theater). This semi-immersive, slightly uncertainopening sets the
ORESTEIA | PLAYS TO SEE eschylus’ Oresteia is the only extant ancient Greek trilogy and one of the most challenging examples of Greek tragedy. Its three parts: Agamemnon, The Libation Bearers, and The Eumenides present the story and the destruction of Agamemnon’s – King of Argos – family. Almeida Theatre staged, as part of its Greek Season, a new version COCKPIT | PLAYS TO SEE Royal Lyceum Theatre, Edinburgh. You British don’t understand about Europe, spits a character at the hapless Captain Ridley, a statement seemingly as true now as it was when Cockpit was written in 1948. It is the end of WWII, and Ridley (Peter Hannah), along with his sergeant (Deka Walmsley) is trying to organise a theatre full of displaced people from all across Europe in an effort to get POMONA | PLAYS TO SEE his play is a presentation of a nightmare. Those of you aware that Pomona was the Roman Goddess of fruit will find that her name is used ironically. ‘Pomona’ here designates a commercial and industrial area in the centre of Manchester, all concrete and aridity. It is owned by a fast-talking embodiment of hostility and DON CARLOS | PLAYS TO SEE Despite having a strong ensemble cast, the ARA Theatre Company’s production of Friedrich Schiller’s Don Carlos ultimately falls victim to a directorial concept that makes this play opaque and, in places, incomprehensible. According to the programme notes, director Gadi Roll believes that ‘the things Schiller had to say in Don Carlos still need to beOPHELIAS ZIMMER
Ophelias Zimmer – the product of a collaboration between the director Katie Mitchell, the designer Chloe Lamford, and the playwright Alice Birch – retells Shakespeare’s Hamlet from Ophelia’s perspective. Hamlet’s affections suddenly start to seem both oppressive and self-centred. The same sequence is repeated manytimes over: he
EAST | PLAYS TO SEEAUTHOR: NICHOLAS POTTER East by Steven Berkoff is a comic play about London’s East End. Five characters relay tales about their shady lives in a rough district, covering the bases of romance, family and friendship. The murkiness of the action is offset by the elevated Shakespearean idiom that the characters speak in. The younger generation, Mike (James Craze),GLISSEMENTS
On the occasion of the festival d’automne in Paris, Myriam Gourfink choreographed dance performance for the rooms of the famous Nymphéas, painted by Claude Monet between 1914 and 1926. The concept is particularly exciting: you enter the museum at night, the two musicians are already present in the two rooms of the paintings andthen you wait
LOLITA | PLAYS TO SEE he Duke of Hamilton’s theatre, nestled underneath the Hampstead pub, is a tiny, cellar-like space which makes for a perfect setting for the claustrophobic intimacy and interrupted secrets, and hidden lives, of Victor Sobchak’s ‘Lolita’. The audience feel like they are eavesdropping on the action– uncomfortably, semi-exposed, and the benches jut into the stage, whileFEMALE TRANSPORT
Ustinov Studio, Bath. T h ere’s been a surge in interest in women’s prison dramas following the success of Netflix series Orange Is The New Black, andFemale Transport takes this focus back to the early 1800s and the women headed to the penal colony of Australia. The play makes use of time jumps to portray the progression of a six month voyage over a couple of hours, and we watch theSLEEP NO MORE
The McKittrick Hotel, New York City. The McKittrick Hotel is dark. It’s one of the first things you must adapt to if you are to make your way in the world that is Sleep No More.In one of the many, many rooms, at a bar made entirely of cardboard and lit only by a dim lamp, a man is silently offering a deck of cards to the spectators on the other side of the bar.THE OVERCOAT
he Overcoat at New Cross’ small, subterranean theatre is situated at one remove from Gogol’s original story about a dreary office worker who rises briefly to prestige thanks to a handsome overcoat that he buys only to lose the overcoat and with it his life. The company aims to bring Buster Keaton’s 1954-5 McCarthy eraORANGES & ELEPHANTS
If you were inventing two rival gangs for the purposes of a musical, you probably wouldn’t call one of them the Oranges, a word which notoriously rhymes with precisely nothing in the English language. Even Sondheim would have been stumped – “When you’re an Orange/You’re an Orange all the way/From your first OK, maybelet’s
F*CKING MEN
ucking Men originally appeared at The King’s Head Theatre in 2009, running for 9 months – an unusually long time in the world of fringe theatre. Now, Joe DiPietro’s sensitive, interesting piece about London’s gay community has returned home, with thoroughly engaging results. The play focuses on the lives of 10 gay men, with wildly AN OVERVIEW OF HAMLETMACHINE An overview of Hamletmachine. Emily Louizou. 25/07/2016. How to survive – and make a show! – in an old unsused warehouse near Tower Bridge. By the director Emily Louizou. Hamletmachine has definitely been a very challenging piece to direct. An orgy of deconstruction as I’ve liked calling it. A VERY VERY VERY DARK MATTER Martin McDonagh’s ‘A Very Very Very Dark Matter’ seems, by turns, to be a hard-hitting lampoon of the western attachment to canonical white male writers, and an uncomfortable pantomime that got lost on its way to a performance at Jacob Rees-Mogg’s house. The script is deliberately, eye-poppingly offensive, stuffed with brazenhumour of the very
EAST | PLAYS TO SEEAUTHOR: NICHOLAS POTTER East by Steven Berkoff is a comic play about London’s East End. Five characters relay tales about their shady lives in a rough district, covering the bases of romance, family and friendship. The murkiness of the action is offset by the elevated Shakespearean idiom that the characters speak in. The younger generation, Mike (James Craze),GLISSEMENTS
On the occasion of the festival d’automne in Paris, Myriam Gourfink choreographed dance performance for the rooms of the famous Nymphéas, painted by Claude Monet between 1914 and 1926. The concept is particularly exciting: you enter the museum at night, the two musicians are already present in the two rooms of the paintings andthen you wait
LOLITA | PLAYS TO SEE he Duke of Hamilton’s theatre, nestled underneath the Hampstead pub, is a tiny, cellar-like space which makes for a perfect setting for the claustrophobic intimacy and interrupted secrets, and hidden lives, of Victor Sobchak’s ‘Lolita’. The audience feel like they are eavesdropping on the action– uncomfortably, semi-exposed, and the benches jut into the stage, whileFEMALE TRANSPORT
Ustinov Studio, Bath. T h ere’s been a surge in interest in women’s prison dramas following the success of Netflix series Orange Is The New Black, andFemale Transport takes this focus back to the early 1800s and the women headed to the penal colony of Australia. The play makes use of time jumps to portray the progression of a six month voyage over a couple of hours, and we watch theSLEEP NO MORE
The McKittrick Hotel, New York City. The McKittrick Hotel is dark. It’s one of the first things you must adapt to if you are to make your way in the world that is Sleep No More.In one of the many, many rooms, at a bar made entirely of cardboard and lit only by a dim lamp, a man is silently offering a deck of cards to the spectators on the other side of the bar.THE OVERCOAT
he Overcoat at New Cross’ small, subterranean theatre is situated at one remove from Gogol’s original story about a dreary office worker who rises briefly to prestige thanks to a handsome overcoat that he buys only to lose the overcoat and with it his life. The company aims to bring Buster Keaton’s 1954-5 McCarthy eraORANGES & ELEPHANTS
If you were inventing two rival gangs for the purposes of a musical, you probably wouldn’t call one of them the Oranges, a word which notoriously rhymes with precisely nothing in the English language. Even Sondheim would have been stumped – “When you’re an Orange/You’re an Orange all the way/From your first OK, maybelet’s
F*CKING MEN
ucking Men originally appeared at The King’s Head Theatre in 2009, running for 9 months – an unusually long time in the world of fringe theatre. Now, Joe DiPietro’s sensitive, interesting piece about London’s gay community has returned home, with thoroughly engaging results. The play focuses on the lives of 10 gay men, with wildly AN OVERVIEW OF HAMLETMACHINE An overview of Hamletmachine. Emily Louizou. 25/07/2016. How to survive – and make a show! – in an old unsused warehouse near Tower Bridge. By the director Emily Louizou. Hamletmachine has definitely been a very challenging piece to direct. An orgy of deconstruction as I’ve liked calling it. A VERY VERY VERY DARK MATTER Martin McDonagh’s ‘A Very Very Very Dark Matter’ seems, by turns, to be a hard-hitting lampoon of the western attachment to canonical white male writers, and an uncomfortable pantomime that got lost on its way to a performance at Jacob Rees-Mogg’s house. The script is deliberately, eye-poppingly offensive, stuffed with brazenhumour of the very
LOLITA | PLAYS TO SEE he Duke of Hamilton’s theatre, nestled underneath the Hampstead pub, is a tiny, cellar-like space which makes for a perfect setting for the claustrophobic intimacy and interrupted secrets, and hidden lives, of Victor Sobchak’s ‘Lolita’. The audience feel like they are eavesdropping on the action– uncomfortably, semi-exposed, and the benches jut into the stage, while TROY STORY | PLAYS TO SEE Amanda Hadingue, Greg Haiste, and Georgia Landers in particular bring their characters to life, as the wooden horse hoves into view and brings about the city’s destruction. Likewise, in the stories of the Cyclops and the Sirens, the actors work comfortably with the medium to bring to life both the pastoral idyll and gory horrors of the firstTHE OVERCOAT
he Overcoat at New Cross’ small, subterranean theatre is situated at one remove from Gogol’s original story about a dreary office worker who rises briefly to prestige thanks to a handsome overcoat that he buys only to lose the overcoat and with it his life. The company aims to bring Buster Keaton’s 1954-5 McCarthy eraTHE CULT PLAY
“Welcome to the sanctuary. Please turn off your cellphones and put your coats and bags under the chairs.” That is the greeting that soft-voiced and bohemian-dressed woman meets you with upon entering the theater space. (This is assuming, of course, that you can find the hidden basement theater). This semi-immersive, slightly uncertainopening sets the
ORESTEIA | PLAYS TO SEE eschylus’ Oresteia is the only extant ancient Greek trilogy and one of the most challenging examples of Greek tragedy. Its three parts: Agamemnon, The Libation Bearers, and The Eumenides present the story and the destruction of Agamemnon’s – King of Argos – family. Almeida Theatre staged, as part of its Greek Season, a new version POMONA | PLAYS TO SEE his play is a presentation of a nightmare. Those of you aware that Pomona was the Roman Goddess of fruit will find that her name is used ironically. ‘Pomona’ here designates a commercial and industrial area in the centre of Manchester, all concrete and aridity. It is owned by a fast-talking embodiment of hostility andTHE LOVELY BONES
Venue Oxford Playhouse . I have to report that the stage production of The Lovely Bones (from the hugely successful novel by Alice Sebold, adapted by Bryony Lavery) is one of the most original, inventive and imaginative stage productions I have ever experienced. Its imaginative use of all aspects of stagecraft is downright breath-taking.GRAIN IN THE BLOOD
Grain in the Blood gets under your skin and into your bloodstream. It shows how tradition can quietly go on and on, its power to influence weakened but never lost. The play is a tense, riveting watch. You won’t see much blood on stage, but thanks to powerful writing and acting, you’ll be seeing it everywhere for days to come. Drama. RED VELVET | PLAYS TO SEE Red Velvet has had great success on both sides of the Atlantic since its first appearance at the Tricyle/Kiln back in 2012, and deservedly so. It is a very fine piece of writing that juggles several different registers simultaneously, and with great skill. It takes the shamefully forgotten yet compelling facts of the career of theOPHELIAS ZIMMER
Ophelias Zimmer – the product of a collaboration between the director Katie Mitchell, the designer Chloe Lamford, and the playwright Alice Birch – retells Shakespeare’s Hamlet from Ophelia’s perspective. Hamlet’s affections suddenly start to seem both oppressive and self-centred. The same sequence is repeated manytimes over: he
EAST | PLAYS TO SEEAUTHOR: NICHOLAS POTTER East by Steven Berkoff is a comic play about London’s East End. Five characters relay tales about their shady lives in a rough district, covering the bases of romance, family and friendship. The murkiness of the action is offset by the elevated Shakespearean idiom that the characters speak in. The younger generation, Mike (James Craze),GLISSEMENTS
On the occasion of the festival d’automne in Paris, Myriam Gourfink choreographed dance performance for the rooms of the famous Nymphéas, painted by Claude Monet between 1914 and 1926. The concept is particularly exciting: you enter the museum at night, the two musicians are already present in the two rooms of the paintings andthen you wait
LOLITA | PLAYS TO SEE he Duke of Hamilton’s theatre, nestled underneath the Hampstead pub, is a tiny, cellar-like space which makes for a perfect setting for the claustrophobic intimacy and interrupted secrets, and hidden lives, of Victor Sobchak’s ‘Lolita’. The audience feel like they are eavesdropping on the action– uncomfortably, semi-exposed, and the benches jut into the stage, while INSTITUTE | PLAYS TO SEE nstitute is a performance I have hunted for some time. I have heard many a good thing about Gecko’s touring production, and finally could see it for myself. Unlike a lot of work which is often pigeonholed into the category of ‘fringe’, Institute really demands to be seen. It is just over an hour ofE15 | PLAYS TO SEE
E15 is the most important play I’ve seen at this year’s fringe. Drama. By LUNG Theatre. Directed by Matt Woodhead. Written by Helen Monks and Matt Woodhead. Cast includes Francesca Knight, Danielle Phillips, Will Taylor, Evlyne Oyedokun, Erica Jeffrey and Josh Finan. Summerhall, Edinburgh. Until 28th August. Review by Luke Davies. INIGO | PLAYS TO SEE Inigo is a new play by Jonathan Moore about faith, family, friendship and rebellion: it follows Inigo de Loyola as he goes from an ambitious pleasure-seeker with a quick temper, to a servant of God, ending up as a co-founder of the Society of Jesus. When Inigo decides to A VERY VERY VERY DARK MATTER Martin McDonagh’s ‘A Very Very Very Dark Matter’ seems, by turns, to be a hard-hitting lampoon of the western attachment to canonical white male writers, and an uncomfortable pantomime that got lost on its way to a performance at Jacob Rees-Mogg’s house. The script is deliberately, eye-poppingly offensive, stuffed with brazenhumour of the very
F*CKING MEN
ucking Men originally appeared at The King’s Head Theatre in 2009, running for 9 months – an unusually long time in the world of fringe theatre. Now, Joe DiPietro’s sensitive, interesting piece about London’s gay community has returned home, with thoroughly engaging results. The play focuses on the lives of 10 gay men, with wildly THE SENSEMAKER AND THE ANCHOR The Sensemaker is the tale of a woman’s struggle with a Kafka-esque bureaucracy. This play is in part commentary on the arbitrary nature of dealing with faceless machines, telephones and surveillance; part tale on the nature of the hoops we are increasingly forced to jump through as power dynamics in so many areas of our lives widen. AN OVERVIEW OF HAMLETMACHINE An overview of Hamletmachine. Emily Louizou. 25/07/2016. How to survive – and make a show! – in an old unsused warehouse near Tower Bridge. By the director Emily Louizou. Hamletmachine has definitely been a very challenging piece to direct. An orgy of deconstruction as I’ve liked calling it. EAST | PLAYS TO SEEAUTHOR: NICHOLAS POTTER East by Steven Berkoff is a comic play about London’s East End. Five characters relay tales about their shady lives in a rough district, covering the bases of romance, family and friendship. The murkiness of the action is offset by the elevated Shakespearean idiom that the characters speak in. The younger generation, Mike (James Craze),GLISSEMENTS
On the occasion of the festival d’automne in Paris, Myriam Gourfink choreographed dance performance for the rooms of the famous Nymphéas, painted by Claude Monet between 1914 and 1926. The concept is particularly exciting: you enter the museum at night, the two musicians are already present in the two rooms of the paintings andthen you wait
LOLITA | PLAYS TO SEE he Duke of Hamilton’s theatre, nestled underneath the Hampstead pub, is a tiny, cellar-like space which makes for a perfect setting for the claustrophobic intimacy and interrupted secrets, and hidden lives, of Victor Sobchak’s ‘Lolita’. The audience feel like they are eavesdropping on the action– uncomfortably, semi-exposed, and the benches jut into the stage, while INSTITUTE | PLAYS TO SEE nstitute is a performance I have hunted for some time. I have heard many a good thing about Gecko’s touring production, and finally could see it for myself. Unlike a lot of work which is often pigeonholed into the category of ‘fringe’, Institute really demands to be seen. It is just over an hour ofE15 | PLAYS TO SEE
E15 is the most important play I’ve seen at this year’s fringe. Drama. By LUNG Theatre. Directed by Matt Woodhead. Written by Helen Monks and Matt Woodhead. Cast includes Francesca Knight, Danielle Phillips, Will Taylor, Evlyne Oyedokun, Erica Jeffrey and Josh Finan. Summerhall, Edinburgh. Until 28th August. Review by Luke Davies. INIGO | PLAYS TO SEE Inigo is a new play by Jonathan Moore about faith, family, friendship and rebellion: it follows Inigo de Loyola as he goes from an ambitious pleasure-seeker with a quick temper, to a servant of God, ending up as a co-founder of the Society of Jesus. When Inigo decides to A VERY VERY VERY DARK MATTER Martin McDonagh’s ‘A Very Very Very Dark Matter’ seems, by turns, to be a hard-hitting lampoon of the western attachment to canonical white male writers, and an uncomfortable pantomime that got lost on its way to a performance at Jacob Rees-Mogg’s house. The script is deliberately, eye-poppingly offensive, stuffed with brazenhumour of the very
F*CKING MEN
ucking Men originally appeared at The King’s Head Theatre in 2009, running for 9 months – an unusually long time in the world of fringe theatre. Now, Joe DiPietro’s sensitive, interesting piece about London’s gay community has returned home, with thoroughly engaging results. The play focuses on the lives of 10 gay men, with wildly THE SENSEMAKER AND THE ANCHOR The Sensemaker is the tale of a woman’s struggle with a Kafka-esque bureaucracy. This play is in part commentary on the arbitrary nature of dealing with faceless machines, telephones and surveillance; part tale on the nature of the hoops we are increasingly forced to jump through as power dynamics in so many areas of our lives widen. AN OVERVIEW OF HAMLETMACHINE An overview of Hamletmachine. Emily Louizou. 25/07/2016. How to survive – and make a show! – in an old unsused warehouse near Tower Bridge. By the director Emily Louizou. Hamletmachine has definitely been a very challenging piece to direct. An orgy of deconstruction as I’ve liked calling it.E15 | PLAYS TO SEE
E15 is the most important play I’ve seen at this year’s fringe. Drama. By LUNG Theatre. Directed by Matt Woodhead. Written by Helen Monks and Matt Woodhead. Cast includes Francesca Knight, Danielle Phillips, Will Taylor, Evlyne Oyedokun, Erica Jeffrey and Josh Finan. Summerhall, Edinburgh. Until 28th August. Review by Luke Davies. LOLITA | PLAYS TO SEE he Duke of Hamilton’s theatre, nestled underneath the Hampstead pub, is a tiny, cellar-like space which makes for a perfect setting for the claustrophobic intimacy and interrupted secrets, and hidden lives, of Victor Sobchak’s ‘Lolita’. The audience feel like they are eavesdropping on the action– uncomfortably, semi-exposed, and the benches jut into the stage, while TROY STORY | PLAYS TO SEE Amanda Hadingue, Greg Haiste, and Georgia Landers in particular bring their characters to life, as the wooden horse hoves into view and brings about the city’s destruction. Likewise, in the stories of the Cyclops and the Sirens, the actors work comfortably with the medium to bring to life both the pastoral idyll and gory horrors of the firstSLEEP NO MORE
The McKittrick Hotel, New York City. The McKittrick Hotel is dark. It’s one of the first things you must adapt to if you are to make your way in the world that is Sleep No More.In one of the many, many rooms, at a bar made entirely of cardboard and lit only by a dim lamp, a man is silently offering a deck of cards to the spectators on the other side of the bar.FEMALE TRANSPORT
Ustinov Studio, Bath. T h ere’s been a surge in interest in women’s prison dramas following the success of Netflix series Orange Is The New Black, andFemale Transport takes this focus back to the early 1800s and the women headed to the penal colony of Australia. The play makes use of time jumps to portray the progression of a six month voyage over a couple of hours, and we watch theTHE CULT PLAY
“Welcome to the sanctuary. Please turn off your cellphones and put your coats and bags under the chairs.” That is the greeting that soft-voiced and bohemian-dressed woman meets you with upon entering the theater space. (This is assuming, of course, that you can find the hidden basement theater). This semi-immersive, slightly uncertainopening sets the
THE OVERCOAT
he Overcoat at New Cross’ small, subterranean theatre is situated at one remove from Gogol’s original story about a dreary office worker who rises briefly to prestige thanks to a handsome overcoat that he buys only to lose the overcoat and with it his life. The company aims to bring Buster Keaton’s 1954-5 McCarthy eraTHE LOVELY BONES
Venue Oxford Playhouse . I have to report that the stage production of The Lovely Bones (from the hugely successful novel by Alice Sebold, adapted by Bryony Lavery) is one of the most original, inventive and imaginative stage productions I have ever experienced. Its imaginative use of all aspects of stagecraft is downright breath-taking. THE SENSEMAKER AND THE ANCHOR The Sensemaker is the tale of a woman’s struggle with a Kafka-esque bureaucracy. This play is in part commentary on the arbitrary nature of dealing with faceless machines, telephones and surveillance; part tale on the nature of the hoops we are increasingly forced to jump through as power dynamics in so many areas of our lives widen.OPHELIAS ZIMMER
Ophelias Zimmer – the product of a collaboration between the director Katie Mitchell, the designer Chloe Lamford, and the playwright Alice Birch – retells Shakespeare’s Hamlet from Ophelia’s perspective. Hamlet’s affections suddenly start to seem both oppressive and self-centred. The same sequence is repeated manytimes over: he
EAST | PLAYS TO SEEAUTHOR: NICHOLAS POTTER East by Steven Berkoff is a comic play about London’s East End. Five characters relay tales about their shady lives in a rough district, covering the bases of romance, family and friendship. The murkiness of the action is offset by the elevated Shakespearean idiom that the characters speak in. The younger generation, Mike (James Craze), LOLITA | PLAYS TO SEE he Duke of Hamilton’s theatre, nestled underneath the Hampstead pub, is a tiny, cellar-like space which makes for a perfect setting for the claustrophobic intimacy and interrupted secrets, and hidden lives, of Victor Sobchak’s ‘Lolita’. The audience feel like they are eavesdropping on the action– uncomfortably, semi-exposed, and the benches jut into the stage, whileGLISSEMENTS
On the occasion of the festival d’automne in Paris, Myriam Gourfink choreographed dance performance for the rooms of the famous Nymphéas, painted by Claude Monet between 1914 and 1926. The concept is particularly exciting: you enter the museum at night, the two musicians are already present in the two rooms of the paintings andthen you wait
THE CULT PLAY
“Welcome to the sanctuary. Please turn off your cellphones and put your coats and bags under the chairs.” That is the greeting that soft-voiced and bohemian-dressed woman meets you with upon entering the theater space. (This is assuming, of course, that you can find the hidden basement theater). This semi-immersive, slightly uncertainopening sets the
COCKPIT | PLAYS TO SEE Royal Lyceum Theatre, Edinburgh. You British don’t understand about Europe, spits a character at the hapless Captain Ridley, a statement seemingly as true now as it was when Cockpit was written in 1948. It is the end of WWII, and Ridley (Peter Hannah), along with his sergeant (Deka Walmsley) is trying to organise a theatre full of displaced people from all across Europe in an effort to getFEMALE TRANSPORT
Ustinov Studio, Bath. T h ere’s been a surge in interest in women’s prison dramas following the success of Netflix series Orange Is The New Black, andFemale Transport takes this focus back to the early 1800s and the women headed to the penal colony of Australia. The play makes use of time jumps to portray the progression of a six month voyage over a couple of hours, and we watch the POMONA | PLAYS TO SEE his play is a presentation of a nightmare. Those of you aware that Pomona was the Roman Goddess of fruit will find that her name is used ironically. ‘Pomona’ here designates a commercial and industrial area in the centre of Manchester, all concrete and aridity. It is owned by a fast-talking embodiment of hostility andTHE OVERCOAT
he Overcoat at New Cross’ small, subterranean theatre is situated at one remove from Gogol’s original story about a dreary office worker who rises briefly to prestige thanks to a handsome overcoat that he buys only to lose the overcoat and with it his life. The company aims to bring Buster Keaton’s 1954-5 McCarthy eraORANGES & ELEPHANTS
Musical. Written by Lil Warren (book and lyrics), Jo Collins (music) Directed by Susie McKenna. Cast: Kate Adams, Rebecca Bainbridge, Susannah van den Berg, Jo Collins, Rosalind Ford, Liz Kitchen, Natasha Lewis, Sinead Long, Kate Marlais, Christina Tedders, Sarah J Warren. Hoxton Hall, London. Until 10th February 2018. A VERY VERY VERY DARK MATTER Martin McDonagh’s ‘A Very Very Very Dark Matter’ seems, by turns, to be a hard-hitting lampoon of the western attachment to canonical white male writers, and an uncomfortable pantomime that got lost on its way to a performance at Jacob Rees-Mogg’s house. The script is deliberately, eye-poppingly offensive, stuffed with brazenhumour of the very
EAST | PLAYS TO SEEAUTHOR: NICHOLAS POTTER East by Steven Berkoff is a comic play about London’s East End. Five characters relay tales about their shady lives in a rough district, covering the bases of romance, family and friendship. The murkiness of the action is offset by the elevated Shakespearean idiom that the characters speak in. The younger generation, Mike (James Craze), LOLITA | PLAYS TO SEE he Duke of Hamilton’s theatre, nestled underneath the Hampstead pub, is a tiny, cellar-like space which makes for a perfect setting for the claustrophobic intimacy and interrupted secrets, and hidden lives, of Victor Sobchak’s ‘Lolita’. The audience feel like they are eavesdropping on the action– uncomfortably, semi-exposed, and the benches jut into the stage, whileGLISSEMENTS
On the occasion of the festival d’automne in Paris, Myriam Gourfink choreographed dance performance for the rooms of the famous Nymphéas, painted by Claude Monet between 1914 and 1926. The concept is particularly exciting: you enter the museum at night, the two musicians are already present in the two rooms of the paintings andthen you wait
THE CULT PLAY
“Welcome to the sanctuary. Please turn off your cellphones and put your coats and bags under the chairs.” That is the greeting that soft-voiced and bohemian-dressed woman meets you with upon entering the theater space. (This is assuming, of course, that you can find the hidden basement theater). This semi-immersive, slightly uncertainopening sets the
COCKPIT | PLAYS TO SEE Royal Lyceum Theatre, Edinburgh. You British don’t understand about Europe, spits a character at the hapless Captain Ridley, a statement seemingly as true now as it was when Cockpit was written in 1948. It is the end of WWII, and Ridley (Peter Hannah), along with his sergeant (Deka Walmsley) is trying to organise a theatre full of displaced people from all across Europe in an effort to getFEMALE TRANSPORT
Ustinov Studio, Bath. T h ere’s been a surge in interest in women’s prison dramas following the success of Netflix series Orange Is The New Black, andFemale Transport takes this focus back to the early 1800s and the women headed to the penal colony of Australia. The play makes use of time jumps to portray the progression of a six month voyage over a couple of hours, and we watch the POMONA | PLAYS TO SEE his play is a presentation of a nightmare. Those of you aware that Pomona was the Roman Goddess of fruit will find that her name is used ironically. ‘Pomona’ here designates a commercial and industrial area in the centre of Manchester, all concrete and aridity. It is owned by a fast-talking embodiment of hostility andTHE OVERCOAT
he Overcoat at New Cross’ small, subterranean theatre is situated at one remove from Gogol’s original story about a dreary office worker who rises briefly to prestige thanks to a handsome overcoat that he buys only to lose the overcoat and with it his life. The company aims to bring Buster Keaton’s 1954-5 McCarthy eraORANGES & ELEPHANTS
Musical. Written by Lil Warren (book and lyrics), Jo Collins (music) Directed by Susie McKenna. Cast: Kate Adams, Rebecca Bainbridge, Susannah van den Berg, Jo Collins, Rosalind Ford, Liz Kitchen, Natasha Lewis, Sinead Long, Kate Marlais, Christina Tedders, Sarah J Warren. Hoxton Hall, London. Until 10th February 2018. A VERY VERY VERY DARK MATTER Martin McDonagh’s ‘A Very Very Very Dark Matter’ seems, by turns, to be a hard-hitting lampoon of the western attachment to canonical white male writers, and an uncomfortable pantomime that got lost on its way to a performance at Jacob Rees-Mogg’s house. The script is deliberately, eye-poppingly offensive, stuffed with brazenhumour of the very
PLAYS TO SEE INTERNATIONAL THEATRE REVIEWS AND FEATURES Reviews, interviews, and features about the performing arts from around the world. Exploring diverse cultures, promoting creativity.THE OVERCOAT
he Overcoat at New Cross’ small, subterranean theatre is situated at one remove from Gogol’s original story about a dreary office worker who rises briefly to prestige thanks to a handsome overcoat that he buys only to lose the overcoat and with it his life. The company aims to bring Buster Keaton’s 1954-5 McCarthy era COCKPIT | PLAYS TO SEE Royal Lyceum Theatre, Edinburgh. You British don’t understand about Europe, spits a character at the hapless Captain Ridley, a statement seemingly as true now as it was when Cockpit was written in 1948. It is the end of WWII, and Ridley (Peter Hannah), along with his sergeant (Deka Walmsley) is trying to organise a theatre full of displaced people from all across Europe in an effort to getTHE LOVELY BONES
I have to report that the stage production of The Lovely Bones (from the hugely successful novel by Alice Sebold, adapted by Bryony Lavery) is one of the most original, inventive and imaginative stage productions I have ever experienced. Its imaginative use of all aspects of stagecraft is downright breath-taking. I have never beenentirely
WHAT SHADOWS
The Birmingham Speech. That is what Enoch Powell termed his diatribe better known to most by the moniker ‘Rivers of Blood’. Powell’s title hid beneath its innocuous words a virulent tirade that incited racist attacks and seemingly welcomed a civil war along the lines of race. In What Shadows, writer Chris Hannan takes Powell (Ian INIGO | PLAYS TO SEE Inigo is a new play by Jonathan Moore about faith, family, friendship and rebellion: it follows Inigo de Loyola as he goes from an ambitious pleasure-seeker with a quick temper, to a servant of God, ending up as a co-founder of the Society of Jesus. When Inigo decides to A VERY VERY VERY DARK MATTER Martin McDonagh’s ‘A Very Very Very Dark Matter’ seems, by turns, to be a hard-hitting lampoon of the western attachment to canonical white male writers, and an uncomfortable pantomime that got lost on its way to a performance at Jacob Rees-Mogg’s house. The script is deliberately, eye-poppingly offensive, stuffed with brazenhumour of the very
SMALL ISLAND
In this adaptation of Andrea Levy’s 2004 novel about the Windrush generation, the trials faced by native Jamaicans migrating to post-war Britain is explored through narratives of crushed hope. The characters of these narratives, who traverse the Atlantic Ocean full of dreams, encounter a war-weary and racist country when they step onto dry land. RED VELVET | PLAYS TO SEE Red Velvet has had great success on both sides of the Atlantic since its first appearance at the Tricyle/Kiln back in 2012, and deservedly so. It is a very fine piece of writing that juggles several different registers simultaneously, and with great skill. It takes the shamefully forgotten yet compelling facts of the career of theF*CKING MEN
ucking Men originally appeared at The King’s Head Theatre in 2009, running for 9 months – an unusually long time in the world of fringe theatre. Now, Joe DiPietro’s sensitive, interesting piece about London’s gay community has returned home, with thoroughly engaging results. The play focuses on the lives of 10 gay men, with wildly__
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MACBETH
__ Mel Cooper
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FAUSTUS: THAT DAMNED WOMAN__ Marine Furet
__ 13/03/2020
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__ Richard McKee
__ 11/03/2020
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P*SSYC*CK KNOW NOTHING__ Becca Kaplan
__ 11/03/2020
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A CRITIC'S ADVICE ON REVIEWING __ Michael Billington__ 08/03/2015
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UNDER THE RADAR
THE PUBLIC THEATER’S UNDER THE RADAR FESTIVAL__ Austin Fimmano
__ 17/01/2020
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SHE NYC ARTS FESTIVAL__ Gillian Russo
__ 09/07/2019
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__ 04/06/2019
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THE REVENGER’S TRAGEDY__ Tim Hochstrasser
__ 09/03/2020
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FAUSTUS: THAT DAMNED WOMAN__ Marine Furet
__ 13/03/2020
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THE RED SHOES
__ Richard McKee
__ 11/03/2020
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P*SSYC*CK KNOW NOTHING__ Becca Kaplan
__ 11/03/2020
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ADAM SPREADBURY-MAHER AND DAVID EATON TALK TO RIVKA JACOBSON__ Rivka Jacobson
__ 10/03/2020
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NOT QUITE JERUSALEM
__ Sacha Magee
__ 10/03/2020
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THE REVENGER’S TRAGEDY__ Tim Hochstrasser
__ 09/03/2020
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FAUSTUS: THAT DAMNED WOMAN__ Marine Furet
__ 13/03/2020
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UK REVIEWS
4.0★ ★ ★ ★
FAUSTUS: THAT DAMNED WOMAN__ Marine Furet
__ 13/03/2020
Faustus: That Damned Woman is brought to the stage with energetic spirit by Headlong, in a production directed by Caroli... 5.0★ ★ ★ ★ ★THE RED SHOES
__ Richard McKee
__ 11/03/2020
It takes more than a spot of Coronavirus to keep the crowds away from the New Wimbledon Theatre. There were few empty se...4.0★ ★ ★ ★
NOT QUITE JERUSALEM
__ Sacha Magee
__ 10/03/2020
40 years since the original production, Finborough Theatre revives Paul Kember’s 1980 play Not Quite Jerusalem. It’s set... 5.0★ ★ ★ ★ ★ THE REVENGER’S TRAGEDY__ Tim Hochstrasser
__ 09/03/2020
Cheek by Jowl’s latest venture into the world of Shakespeare and his contemporaries take the form of a modern-dress, Ita... INTERNATIONAL REVIEWS4.0★ ★ ★ ★
P*SSYC*CK KNOW NOTHING__ Becca Kaplan
__ 11/03/2020
P*ssyc*ck Know Nothing. I felt like I knew nothing going into Target Margin Theater’s retelling of 1001 Nights, years in...4.0★ ★ ★ ★
SUICIDE FOREST
__ Colin Macdonald
__ 09/03/2020
Haruna Lee’s Suicide Forest, an experimental play that wrestles with questions of Japanese-American cultural and sexual ... 5.0★ ★ ★ ★ ★MR TOOLE
__ Ann Pryor
__ 09/03/2020
For fans of the Pulitzer Prize-winning book A Confederacy of Dunces, written by John Kennedy Toole and published posthum...3.0★ ★ ★
ONE GREEN BOTTLE
__ Gillian Russo
__ 02/03/2020
In a metallic, soundproof house, a family is fighting about who must cancel their plans to look after their pregnant dog...INTERVIEWS
ADAM SPREADBURY-MAHER AND DAVID EATON TALK TO RIVKA JACOBSON__ Rivka Jacobson
__ 10/03/2020
It was a sheer coincidence that the person seated next to me at the Trafalgar Studios 2 was no other than Adam Spreadbur... ALISTAIR BEATON TALKS WITH MEL COOPER__ Mel Cooper
__ 20/02/2020
Hans Fallada’s Alone in Berlin (Jeder stirbt fuer sich allein was the original German title) was, perhaps, the first nov...FEATURES
UNDER THE RADAR
THE PUBLIC THEATER’S UNDER THE RADAR FESTIVAL__ Austin Fimmano
__ 17/01/2020
The Public Theater has long since established its reputation as a haven for up-and-coming artists and theatrical product... SHE NYC ARTS FESTIVAL__ Gillian Russo
__ 09/07/2019
In the past two weeks, I have time-traveled, hopped from coast to coast, boosted my language-learning skills, laughed, c... SUPPORT PLAYS TO SEE Playstosee.com has sponsored over 250 young people to see and review shows in more than 14 countries. Please help us to continue our efforts in these and many other countries and cities throughout the world. Every donation, large orsmall will help.
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5.0★ ★ ★ ★ ★OUR MISSION
Plays To See explores diverse cultures through the medium of the performing arts. It aims to promote interest in the theatre and foster dialogue, understanding and appreciation for different artistic productions around the world. Our scope is wide-ranging, from Greek tragedy to stand-up comedy; from ballet and opera to mime and experimental theatre.Learn More
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