Theatre

Our legal system is pure theatre and always has been. Many barristers stand accused of being failed actors and vice versa. Judges love the dressing-up box and a chance to give their gavel a good bang. With murmuring galleries, shocking verdicts, swooning witnesses, cries of ‘all rise’ and ‘take him down’, the flummery and drama of the courtroom has always supplied a rich genre for film, theatre and telly. Now there’s a chance to see one of the more serious courtroom classics in the West End. Twelve Angry Men — originally written for the screen and directed by Sidney Lumet — is about a grumpy New York jury deciding on

Bold decisions are at the core of great artistic directorship. And Tamara Rojo, the ballet star leading English National Ballet, knows that well. Le Corsaire is not the usual ballet classic one craves to see. Yet it makes a splendid addition to the already vast and multifaceted repertoire of ENB. Created in 1856, this work has stood the test of time. Thanks to endless revivals, it has become one of the most manipulated and interpolated choreographic texts. Its current popularity, however, stems from the now legendary revival that the Kirov ballet presented in the West in 1989. Glitzy and star-studded, that staging paved the way for many others, which led

Brecht in the West End? Quite a rarity. Jonathan Church’s zippy and stylish version of The Resistible Rise of Arturo Ui arrives from the Chichester Festival garlanded with plaudits. Brecht’s wartime allegory was intended as a warning to America that its idolisation of gangsters made it vulnerable to a fascist takeover. Ui begins as a petty criminal mocked by Chicago’s established hoodlums. To revive his fortunes, he orders his thugs to vandalise grocery shops and to extract protection money from their owners. This brings him into conflict with Chicago’s mighty Cauliflower Trust. A huge warehouse belonging to a leading merchant is burned to the ground and Ui orchestrates a show

Venice may be the oldest film festival in the world but it is still breaking new ground. This week film-lovers across the globe will sit down in the comfort of their own homes to watch films that are being streamed live from the Lido. It is the second year of Venice’s Web Theatre; this offers members of the public the chance to buy tickets to stream films  — picked largely from the festival’s Horizons section — at the same time as festival attendees see them on the big screen (www.labiennale.org for details). Horizons, though not the main category in the festival, still has some worthwhile films to watch. Wadjda, the

‘Shakespeare’s Globe’, as the theatre has been called since it was founded in 1997, is unusual for a theatre in that it makes a large annual profit, without receiving public funding. How? Its unique angle means it has no need to market itself – what’s more attractive to an American audience than Shakespeare, in London, in a reconstructed Shakespearean theatre? But its decision to put all Shakespearean productions on hold to make way for another dramatist is a decision which Lloyd Evans isn’t too sure about. Samuel Adamson’s Gabriel may be accompanied by some lovely Purcell music, but the actual play’s content leaves much to be desired. Theoretically, there’s nothing

This is brilliant. The new play by Oliver Cotton, a 69-year-old actor, is set in New York in 1986. An ageing couple, Joe and Ellie, are practising their ballroom dancing when Joe’s maverick brother Billy comes crashing through the front door. The cops are after him. He was holed up in a Florida hotel when he spotted the Nazi brute who tortured them all at a death-camp during the war. He shot the bastard dead and left him floating in a swimming pool in front of hundreds of gawping witnesses. Then he ran for it. He’s not even sorry. He’s pleased he did it. This is gripping stuff. What next?

David Haig is one of those actors who can’t escape the visual identity of his characters. He’s the sad suburban salaryman. He’s the pasty-faced petty bureaucrat. He’s the bungling office curmudgeon with a volcanic temper. He just looks that way. Except that he doesn’t. I barely recognise the suntanned Bohemian figure who strolls up and shakes me by the hand. With his summery shirt and his trim grey beard he looks like a rakish Cretan sailor ready to pour himself a double ouzo and start reminiscing about the mermaids. He’s rehearsing Lear, at the Theatre Royal Bath, when we meet. ‘It’s an addiction,’ he says. ‘Any actor, past a certain

Wadjda is the first feature-length film to come out of Saudi Arabia, and was shot by the country’s first female director – but those aren’t the only things that are great about it, says Deborah Ross. It’s also ‘fascinating, involving, moving, and an entirely excellent film in its own right’. The story might be simple, but it’s the glimpses of how life might be for a woman living in Saudi Arabia make it ‘wonderful’. Deborah’s second film this week is the The World’s End, an attempt to be humorous that despite its cast (which includes Martin Freeman, Rosamund Pike and Simon Pegg) is completely unfunny, and ‘just boring’. Even the zombies

First the good news. Strange Interlude by Eugene O’Neill has been cut down from five hours to just under three and a half. The action, if you can call it that, begins at 7 p.m. but if you reach the Lyttelton theatre at the more civilised hour of 8 you’ll have missed very little. The first act could be disposed of in six words, ‘my fiancé died in the war’, but O’Neill is such a colossal twaddler that he wastes absolutely ages gabbling on about this and that before plunging into his story. The main character, Nina, is a bourgeois flapper who approaches life in a spirit of cynical pragmatism.