Richard Eyre is making himself something of a specialist when it comes to Ibsen. Having adapted and directed Hedda Gabler and Ghosts to loud acclaim, now he’s taken on Ibsen’s less familiar Little Eyolf. What emerges is a taut chamber portrait of marriage and guilt – a template for later studies of marital warfare from Strindberg to Albee.
The battle of Agincourt and our ancient enmities with France take on a darker hue today in the light of events in Paris. Beside which, Greg Doran’s Henry V coincidentally sits as a sombre, sober comment on war.
How do you like your Chekhov? Do you even like Chekhov? Like Shakespeare, debates range around his texts, none more so than the early plays of Platonov and Ivanov, the latter his first full length play.
Victor Hugo at Villers-la-Ville until August 16 and Le Malade Imaginaire at Villers-la-Ville until August 8.
The 12th-century abbey of Villers-la-Ville in Belgium has a tradition of open air summer theatre that dates back more than a hundred years – but the tradition is not quite unbroken.
Victorian essayist Thomas de Quincey described it as “perhaps the most superb work in the language”. More recently, scholar Paul Edmonson in his new, highly readable introduction to Shakespeare says the play is “as innovative as anything Shakespeare ever produced”.
Alan Ayckbourn has always had a fascination with the mechanics of things. His plays, as a colleague once wrote, often resemble the internal intricacies of a Swiss watch. He just likes winding things up, seeing how far he can push dramatic possibilities and the occurrence of things happening simultaneously.
Willy Loman is to 20th century drama what Lear is to classical theatre. A titanic figure, he’s one of Arthur Miller’s greatest tragic creations. An achingly desolate symbol of the American dream gone sour, he stands, like Lear, as one of the summits of an actor’s career.
Mysteries still abound about the death of Garcia Lorca, the Spanish playwright, theatre director and poet. Assassinated in 1936 at the beginning of the Spanish Civil War, speculation continues as to the why and whereabouts of his death.
Thomas Ovans is impressed by Roger Owen’s absorbing and lucid introduction to the work of the Welsh dramatist Gwenlyn Parry
Susan Glaspell was a contemporary of Eugene O’Neill and one of the co-founders of the Provincetown Players, the group that championed O’Neill. O’Neill went on to greatness. Glaspell disappeared into the mists of history until re-discovered by Walters with the help of American female academics. Springs Eternal was Glaspell’s final play, never performed. Walters’ production at the Orange Tree is therefore its World Première.
Walk in the Light – National Theatre Platforms: Part 4: Centre Stage…A Celebration – Sunday, July 21, 2013, Lyttelton Theatre Carole Woddis.
Fifty years old and going strong, the National Theatre last week paid a fine and welcome tribute to black artists and their contribution to British theatre. And what a contribution they have made.
The Match Box – Tricycle Theatre/The Hothouse – Trafalgar Studios Transformed – review by Carole Woddis.
Frank McGuinness, Harold Pinter, two giants and masters of their genre.