Though a long journey indeed, Richard Eyre’s is a vital revival, giving vigour to Eugene O’Neill’s mighty, semi-autobiographical work and making all the more poignant this tormented but fast-talking family’s gradual dwindling into a despairing silence. Read my full BroadwayWorld review here … Continue reading
Emma lies, professionally and pathologically. She’s a struggling actress, and her zeal for living lives other than her own is the biggest barrier to her recovery from drugs and alcohol addiction. Duncan Macmillan’s searing piece, which transfers after a sold-out … Continue reading
Recovery depends on honesty, but Emma – not her real name – lies for a living. Duncan Macmillan’s searing play, getting a well-deserved West End transfer from the National, complicates the familiar story of addiction and rehab by making its … Continue reading
Jack is an alcoholic. Stephanie is a whore. Joseph is stupid. Stevie is a broody neurotic. These identifiers are proudly proclaimed in the first minute of Matthew Perry’s debut play, but if you weren’t paying attention, fear not: they will … Continue reading
A sterling case is made for the lost art of letter-writing in Michael Simkins’ dramatisation of Roger Mortimer’s missives to his wayward son. Mortimer’s inimitable turn of phrase, preserved in epistolary form, is the highlight of a genial show notable … Continue reading
Lloyd Newson’s DV8 company takes a big risk in fusing two opposing elements – metaphorical movement and verbatim drama – but it pays off with gripping new work JOHN. DV8, which previously tackled Islamic fundamentalism and homophobia, here confronts the harrowing life of a social outsider, the eponymous John (Hannes Langolf), … Continue reading
It is no exaggeration to say that Lloyd Newson has created a new theatrical language. Verbatim drama and intricate choreography would seem, on paper, to be fatally competing elements, yet Newson’s hypnotic fusion charges both word and movement with fresh … Continue reading
When gifting the unheard a voice, the temptation is often to make it a solemn one. Thankfully, Paddy Campbell has, for the most part, sidestepped puritanical preaching in his debut play based on experiences working at a ‘wet house’, a … Continue reading
