Lauren Gunderson’s play I and You opens in the scruffy bedroom of 17-year-old Caroline. Lonely, beautiful and furious, she’s unable to participate in school life owing to a chronic liver problem. Into her hideaway barges Anthony, a handsome geek, who wants her to help with a Walt Whitman project. Caroline tries to chase him off
In the year since it opened, the Bridge has given us the following: a harmless Karl Marx comedy by Richard Bean; a modern-dress Julius Caesar with Ben Whishaw playing Brutus as a frowning existentialist; a dreary rustic soap opera written by newcomer Barney Norris; and an enjoyable NHS romp by Alan Bennett. Not quite the
Stories by Nina Raine is a bun-in-the-oven comedy with a complex back narrative. Anna, in her mid-thirties, had a boyfriend 12 years younger than her but the relationship died just as Anna was ready to sprog. Aged 38, and desperately broody, she needs to get preggers pronto. We join her on a Sperm Quest. Though
Sir David Hare’s weird new play sets out to chronicle the history of the Labour movement from 1996 to the present day. But it makes no mention of Corbyn, Momentum, the anti-Semitism row or rumours of a breakaway party. The drama is located in the dead-safe Miliband era and it opens with talk of a
Pinter Two, the second leg of the Pinter season, offers us a pair of one-act comedies. The Lover is a surreal pastiche of married life. A suburban housewife has a paramour who visits her daily while her husband is at work. The husband knows of his rival and discusses his wife’s infidelity as if it
The drop-curtain resembles a granite slab on which the genius’s name has been carved for all time. The festival of Pinter at the Harold Pinter Theatre feels like the inauguration of a godhead. And it’s not easy to separate the work from the reverence that surrounds it. Pinter One consists of sketches and playlets written
Sylvia, the Old Vic’s musical about the Pankhurst clan, has had a troubled nativity. Illness struck the cast during rehearsals. Press night was postponed by a week. On the evening of the delayed performance, the show was cancelled just before curtain-up. We were told that a ‘concert version’ would be presented with understudies filling certain
Arinzé Kene’s play Misty is a collection of rap numbers and skits about a fare dodger, Lucas, from Hackney. Lucas (played by Kene) gets into a scuffle on a bus and is later arrested for entering London Zoo without a ticket. That’s the entire narrative. Obviously, Kene can’t create an evening’s entertainment from such meagre
Hampstead’s boss Ed Hall was so impressed by Stephen Karam’s play The Humans that he wanted to direct it himself. Instead, thanks to a stunning series of accidents, he was able to bring the original Tony award-winning production from Broadway to London. And here it is, directed by Joe Mantello. It’s a family drama, which
It’s intelligent, enjoyable, beautiful to look at and funny in unexpected places, yet Othello at the Globe didn’t quite meet my sky-high expectations. The star should be the Moor but André Holland, from Alabama, can’t rival the magnetism of Mark Rylance (Iago). Holland’s diction is a strain for British ears. We’re used to hearing consonants
Non-stop chatterbox and mystifyingly revered fabricator of sub-Chekovian paddywhackery, Brian Friel has received another production at the Donmar. His play Aristocrats cadges shamelessly from Three Sisters and The Cherry Orchard. The setting is a crumbling mansion in Donegal occupied by four adult members of the O’Donnell clan (three girls, one boy), who idle around the
David Greig has written the international festival’s flagship drama, Midsummer. This farcical romance is performed as a party piece by four actors supported by a plinky-plonky band playing satirical ballads. We meet two boozy drifters, Bob and Helena, who enjoy a night of rampant sex aftera chance encounter in an Edinburgh pub. Will their affair
Trump Lear is a chaotically enjoyable one-man show with a complicated premise. David Carl, an American satirist, has arrived on stage to perform King Lear when Donald Trump’s voice interrupts him from the wings. The President threatens to kill him unless he delivers an accessible version of the Shakespeare classic ‘that isn’t boring’. With improvised
Gandalf, also known as Ian McKellen, has awarded himself another lap of honour by bringing King Lear back to London. Jonathan Munby directs. His eccentric decision to hire actors who don’t resemble their characters will baffle anyone who hasn’t studied the play in advance. The casting may be ‘colour-blind’, but the audience isn’t. Anita-Joy Uwajeh
Alan Bennett’s new play, Allelujah!, is an NHS drama set in a friendly hospital in rural Yorkshire. Colin, an ambitious local boy turned metropolitan yuppie, has arrived from London to visit his sick father and he takes the opportunity to assess the efficiency of the hospital on behalf of his bosses at the health department
Stefano Massini’s play opens with a man in a frock-coat reaching New York after six weeks at sea. The year is 1844 and young Henry Lehman has just emigrated from Bavaria to make his fortune. He started modestly with a general store in Montgomery, Alabama, serving local farmers. When wildfires destroyed the cotton crop on
The Lieutenant of Inishmore is a knockabout farce set during the Troubles. Like Monty Python’s dead parrot sketch it uses the expiry of a pet to examine human obsessiveness and self-delusion. But it takes two hours rather than three minutes to make its point. We meet a handsome terrorist, Padraic (Aidan Turner), whose adoration of
Listen to the crowd. I often delay passing judgment on a show until the audience delivers its verdict. This is especially true of plays that appeal primarily to women. Genesis Inc. by Jemma Kennedy presents us with two infertile mums. Serena is a clingy worrier whose aloof boyfriend, Jeff, resents forking out thousands for IVF.
Intriguing word, ‘octoroon’. Does it mean an eight-sided almond-flavoured cakelet? No, it’s a person whose ancestry is one eighth black. New Yorker Branden Jacobs-Jenkins wants to explore this factoid in his farce An Octoroon, which opens with an angry African-American playwright delivering a comic monologue. He tells us a story about ‘my shrink’. Then he
Polly Stenham starts her overhaul of Strindberg’s Miss Julie with the title. She gives the ‘Miss’ a miss and calls it Julie. The wonder of Strindberg is that his characters speak to us with such force, knowingness and candour that they seem to belong to our own era. Modernising the setting destroys the wonder. This
