My Country, National Theatre

Morality plays that teamed with allegorical characters started falling into disuse about 450 years ago and I think there was a reason why. They feel extremely unreal, unimmediate and irrelevant. Duffy’s Everyman didn’t work, and neither does this. (If you don’t know the concept behind Duffy and Rufus Norris’ latest hare-brained collaboration: Britannia calls a… Continue reading My Country, National Theatre

Richard III, Schaubühne at the Barbican

*CONTAINS SPOILERS* There’s nothing more frustrating than a really good piece of theatre with zero diversity. I almost feel guilty for loving Ostermeier’s and van Hove’s ensembles. The acting standard is so high but the fact that this is some of the greatest theatre is so white shows us that diverse casting is a struggle… Continue reading Richard III, Schaubühne at the Barbican

Wild Honey, Hampstead Theatre

*CONTAINS SPOILERS* Chekhov and farce don’t mix. It’s not that we have to be stringent about obeying the circumstances Chekhov was writing in (I’m not a fan of period dress productions). But it’s worth remembering that farce as a genre is very closely linked to melodrama, which is what Chekhov later came to write against. There… Continue reading Wild Honey, Hampstead Theatre