The actress discusses her role in musical Caroline, or Change. Read my full TodayTix interview here Advertisements
A few protestors might be doggedly hanging on outside the Kiln (was Tricycle) Theatre, but their complaints are firmly refuted by its current show: a vibrant adaptation of Zadie Smith’s award-winning novel that is not just about but firmly rooted in … Continue reading
Hot off award-winning film Three Billboards Outside Ebbing, Missouri, and reunited with Matthew Dunster, who directed his hit Hangmen, Martin McDonagh brings his latest to the Bridge – quite a coup for Nick Hytner. Yet this provocative take on Hans Christian Andersen, and on the nature … Continue reading
Polly Stenham’s updating of Strindberg’s Miss Julie moves the action to contemporary London, and finds both contempt and sympathy for this new version of the idle rich. But, shorn of its 19th-century context, the play struggles to make the class transgression feel … Continue reading
The actor talks In the Heights and Dreamgirls. Read my full BroadwayWorld interview here
“I shook up the world.” So says young gun and new heavyweight champion Cassius Clay (shortly to become Muhammad Ali) in those heady moments after his shock defeat of Sonny Liston in February 1964. But a meeting that same night … Continue reading
The current racial crisis in America might seem too urgent, too horrific, for us to be constantly seeking historical stories, but Suzan-Lori Parks’s play cycle makes a vividly articulate case for the long thread running from 19th-century slavery to 2016 debate … Continue reading
Family is the ideal, the necessity, the burden and the war zone of Nathaniel Martello-White’s intricate new play, alternately elusive and confrontational. It’s group therapy – Ultz provides the community hall plastic chairs and tea table – with no safeguards, … Continue reading
Racial politics, addiction, violence and economic hardship. The subject matter of Jerome Kern and Oscar Hammerstein II’s musical, based on Edna Ferber’s sprawling novel, shocked on its 1927 premiere, as did its integrated story and score and revolutionary dramatic heft. … Continue reading
“Murder is hilarious,” quips Zawe Ashton’s scheming maid, and in Jamie Lloyd’s high-octane, queasily comic revival of Jean Genet’s radical 1947 play, it really is. It’s also lurid, strange, bleak and powerfully transcendent, as befits a piece that locates hunger … Continue reading
