I did an interview with Denise Gough, about taking People Places and Things and Angels in America, for The New York Times. Link to full profile here.
It’s a welcome return for David Greig’s family musical version of Dr Seuss’ The Lorax. First seen in 2015, it’s back at the Old Vic, before touring North America. Continue reading “Review: The Lorax, Old Vic”
Why was the red rose chosen by Labour as its new symbol during rebranding in the Nineties? “Because it looks pretty but is full of pricks,” quips party faithful Jean, in a play that sugars its analysis of the internal struggles of the Labour Party with an extremely high gag rate. Continue reading “Review: Labour of Love, Noel Coward Theatre”
I wrote a piece for The New York Times on the RSC’s costume sale. Link here for the article.
What if you woke up one day in the body of Kanye West? That’s the attention-grabbing idea behind Sam Steiner’s play, Kanye the First. Continue reading “Sam Steiner on Kanye the First: Why I cast a white woman as the rapper”
When Chipo Chung last saw Christopher Marlowe’s Dido, Queen of Carthage, she didn’t understand it. Now, she’s about to play the queen herself at the Royal Shakespeare Company. Perhaps surprisingly, it’s the first time the company has staged the tragedy. Continue reading “Chipo Chung: I had to go round the houses to get into theatre”
There’s a scene in Doglife, one of this year’s most talked-about plays at the Edinburgh Fringe, where the wife of a Glaswegian gangland enforcer, confronting him about his job, suddenly writhes onstage as if experiencing the violence he inflicts on others. Continue reading “Meet Thomas McCrudden, the violent criminal squaring up to his past on stage”
It’s midnight, and I’m lying on a massage table on stage in front of a room full of people. I’m gripping a cucumber between my thighs, which a tall Australian man is demonstrating his hand-job technique on. Ladies and gentlemen, welcome to the Edinburgh Fringe. Continue reading “I went to the maddest interactive shows on the Fringe so you don’t have to”
What’s the noise you keep hearing while watching Irvine Welsh’s play? Laughter? Not so much. It’s more likely the terrible creaking of a woefully old-fashioned script, co-written with Dean Cavanagh. Continue reading “Review: Performers, Assembly Rooms”
They say you have to suffer for your art. But whoever “they” are presumably aren’t talking about binge-drinking cider in public on a daily basis for a month. Mind you, that’s not stopping actor David William Bryan from doing exactly that at this year’s Edinburgh Fringe festival, all in the name of theatre. Whether theatre will thank him is another matter altogether.