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Wednesday 6th October 2010
LATEST R&V NEWSLETTER 6th October 2010
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Theatre News | The Stage • BBC
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Sunday 12th October 2008
Theatre Review | AUGUSTA | Bare Boards...and a passion @ New End Theatre, Hampstead
Augusta, Alan Franks’s new play, which is at the New End Theatre Hampstead, is that seemingly rare breed nowadays, a quintessentially English play with an international cast. Set in the penthouse apartment of a successful writer of biographies, Augusta explores the relationship between a biographer and his fractured muse. It is an engaging, very witty play with that heady mix of comedy and dark, dark tragedy. Kevin Quarmby [more]

 

 

Saturday 11th October 2008
Theatre Review | THE GLEE CLUB | Manchester Library
Miners. Doncaster. 1962. For a twenty-first century audience, post-Thatcher and Scargill, this scenario might as well be Artesian well sinkers in a 1500s whorehouse. Richard Cameron’s play The Glee Club transports us comfortably to a world of grime, soot, and a Britain on the cusp of change, as six miners (one of whom is a musical director) form an a capella vocal group, and meet weekly to rehearse for the upcoming gala festival. Of course, this being a drama about working class men in the north of England, they also share their lives, fears, hopes and private peccadilloes. Matthew Nichols [more]

 

 

Saturday 11th October 2008
Quote | EDWARD ALBEE
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Saturday 11th October 2008
Theatre Review | UPRISING / IN YOUR ROOMS | Hofesh Shechter @ The Lowry, Salford Quays [tour]
Both of Hofesh Shechter’s pieces, Uprising and In Your Rooms, start with deliberate red-herrings, wrong-footings, and sleights of hand. Uprising, a startling, brave and politically charged piece, resonates with fury, darkness and a struggle for emancipation. It starts, however, with its all-male company of eight offering a classical ballet pose. “Okay,” it seems to say. “We can do this. No hassle.” And instead, we’re dazzled by the kinetic rage of struggle, of male aggression and camaraderie breaking down into something more pitiful and bleak. Matthew Nichols [more]

 

 

Friday 10th October 2008
Theatre Review | NO MAN'S LAND | Duke of York's Theatre
Pinter’s work, which revels in the absurdity and the beauty of language, tends to speak for itself. The words themselves take the drama most of the way, so all it requires is a strong delivery from the actors to do it justice. Joanna Bedford [more]

 

 

Friday 10th October 2008
Theatre Review | THE TWO GENTLEMEN OF VERONA | Nós do Morro @ Barbican Pit
The Brazilian creative venture founded by the actor Guti Fraga, Nós do Morro, explodes into the Barbican Pit space with its heady, energetic and youthful adaptation of The Two Gentlemen of Verona. Fraga’s company of actors are drawn from the Vidigal community to the south of Rio de Janeiro. Vidigal is no smart suburb, no comfortable training ground for artists and performers supported by parental and grandparental bank accounts. Vidigal is a shanty town, one of the infamous favola, rife with gang violence and uncomfortably high mortality rate among its population of over forty thousand persons. Kevin Quarmby [more]

 

 

Friday 10th October 2008
Theatre Review | THE NORMAN CONQUESTS | The Old Vic Theatre
I was only able to see two of Alan Ayckbourn’s comic trilogy – Table Manners, Living Together and Round and Round the Garden – so missed out on the marathon press event at which all three plays were staged consecutively (the cast must have been exhausted). Harriet Davis [more]

 

 

Thursday 9th October 2008
Thought for the Day | WASTE | Almeida Theatre
At the preview performance I saw, Samuel West's production of Waste was unbearably DULL and SLOW. It wasn't just me reflecting the wasteland of my own disillusioned soul. I saw two couples sneak out of the theatre at the interval. I heard comments afterwards on the lines of 'the actors didn't seem to really care or be interested in what they were saying'. Michael Brabazon [more]

 

 

Thursday 9th October 2008
Theatre Review | RADIO GOLF | Tricycle Theatre
You have to applaud Nicolas Kent. Along with his political tribunal which have set new benchmarks in dramatic truth-telling and holding the British political establishment to account, he has also been a consistent champion of the work of black writers – British as well as Afro-American. There is probably no other London theatre that can equal his track record for revivals which include such memorable productions as James Baldwin’s The Amen Corner and Blues for Mr Charlie, Howard Sackler’s The Great White Hope, Abram Hill’s Walk Hard – Talk Loud and the unmatchable Lorraine Hansberry’s A Raisin in the Sun, the mother of them all. Carole Woddis [more]

 

 

Thursday 9th October 2008
Theatre Review | THE WALWORTH FARCE | NT Cottesloe Theatre
The Walworth Farce is one of the rare modern plays which manage to blend farce and tragedy with potent effect. Written by Enda Walsh and produced by the Irish company Druid, The Walworth Farce is both deeply disturbing and darkly humorous. Jason Millar [more]

 

 

Thursday 9th October 2008
Theatre Review | LOVE'S LABOURS LOST | RSC Courtyard Theatre
A magnificent tree sprawls its aged branches across the Courtyard Theatre stage. Shards of green and yellow glass hang suspended from the heavens like sparkling dew-encrusted autumn leaves. Coloured lamps shine through the leaves which glitter and glow as they slowly revolve with the slightest movement of air. We are in a magical sylvan world outside the walls of the King of Navarre’s court. Kevin Quarmby [more]

 

 

Thursday 9th October 2008
News | SYBIL THORNDIKE & JOHN RUSKIN AMONG SUBJECTS for STR LECTURE PROGRAMME
Six or more evening meetings are held monthly in London by The Society for Theatre Research during the winter for members, their guests, and the general public, at which lectures (given by invited speakers) are followed by discussion and refreshments. [more]

 

 

Wednesday 8th October 2008
Quote | JANET McTEER
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Tuesday 7th October 2008
Theatre Review | WASTE | Almeida Theatre
Harley Granville-Barker’s Waste, (written in 1907, banned by the Lord Chamberlain, and then revised by the author in 1926), is a study of a potentially great man brought low, but it is not a tragedy – the language of epigrams and repartee does not lend itself to tragedy and his self-conscious characters keep us at arm's length at all times. Claire Ingrams [more]

 

 

Tuesday 7th October 2008
News | THE WAY FORWARD FOR BRISTOL OLD VIC
Bristol Old Vic today outlined details of its Three Phase re-development programme, beginning with news of a series of events to take place from December 2008 in King Street. [more]

 

 

Monday 6th October 2008
Interview | HOWARD BARKER | The Dying of Today | Arcola Theatre
Howard Barker good-humouredly describes it as “outrageous” that he is not better known in the UK. In fact, he thinks it’s a “scandal” that he is “not presented in theatres in this country.” A scandal indeed, especially as Barker will have no less than five opening nights to attend in Paris next April when a season of his plays is presented in the French capital. Kevin Quarmby [more]

 

 

Saturday 4th October 2008
Theatre Review | MEMORY | Clwyd Theatr Cymru @ Pleasance Theatre
How do we address the human effect of history’s salient events in a fictionalised form? There are many plays which go down the route of presenting the most telling incidents in a notable person’s life, artfully re-arranging them into a semblance of art (Never So Good, Howard Brenton’s recent Macmillan biography, is a case in point), and there are others which attempt to encapsulate big themes in the small, private dramas of imagined people. Adam Sheldon [more]

 

 

Friday 3rd October 2008
Theatre Review | PARADISE REGAINED | Royal Court Theatre Jerwood Downstairs
Back in April, Paines Plough produced Shoot / Get Treasure / Repeat, a culmination of sixteen short plays by Mark Ravenhill. Paradise Regained is the epilogue, and feels more like a filler than a stand-alone play. Harriet Davis [more]

 

 

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