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
The Globe is breaking bad.Cymbeline comes to us as Imogen – subtitled Renamed and Reclaimed, properly recognising that Imogen has far more to say than her royal father – but that’s just the start of Matthew Dunster’s bold, urban revamp. The king … 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
Can we really distinguish between experience-based judgement and personal bias? Caroline, the social worker at the centre of American writer Rebecca Gilman’s latest “issue” play, trusts a gut instinct informed by her 25-year career, but those decisions – which shape … Continue reading
Eighteen months on, and Ed Miliband is still intoning “Cost of living crisis” in the hope of persuading disillusioned voters that someone at Westminster understands their plight. Yet the gulf between rhetoric and experience seems ever widening, making art that … 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
