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Search Results for "Play Reviews"

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Your search for posts with tags containing Play Reviews found 76 posts

Double Measures (Measure for Measure, Donmar Warehouse, dir. Josie Rourke, Nov 2018)

The pitch for Josie Rourke’s Measure for Measure at the Donmar, as I had understood it, was that half-way through the show, Isabella and Angelo – or rather, Hayley Atwell and Jack Lowden – would switch parts. This seemed like an intriguing...
From: dispositio on 16 Nov 2018

Necessary Wolves

This is not a review of The Wolves, though if I were writing such a review, I’d urge you all to snap up the last few remaining tickets for the production of Sarah DeLappe’s play, directed by Courtney Ch’ng Lancaster, co-produced by the...
From: dispositio on 25 Oct 2018

The Changeling (Middleton & Rowley; dir. Jackie Maxwell) Stratford, July 2017

Just some thoughts and responses, very much off-the-cuff, written right after I saw the show and only lightly edited: 1) I do not and will never understand the Anglo-American approach to “concept.” Taking a 17th-century play and transporting...
From: dispositio on 31 Jul 2017

Three Sisters (Chekhov/Stone; dir. Simon Stone) Theater Basel/Theatertreffen, May 2017

When Simon Stone “overwrote” Lorca’s Yerma at the Young Vic last year, I was impressed — partly because he did so on a set that toyed with the apparent naturalism of the show (a perspex box, largely empty except for one brief fantasy...
From: dispositio on 7 May 2017

Why Matt Trueman is Wrong about Roman Tragedies

I saw Ivo van Hove’s Roman Tragedies on Sunday. There is no doubt that the work is a significant achievement, an evening of towering ambition and awe-inspiring commitment, a display of an actorly virtuosity very unlike that of most Anglophone actors...
From: dispositio on 25 Mar 2017

Hamlet (Shakespeare; dir. Robert Icke) Almeida, London; Mar. 2017

Robert Icke’s Hamlet is so absolutely stacked with ideas and original takes that someone could produce an annotated edition of the play based on it. After a single viewing, I have almost 40 pages of notes, and I have no idea how to turn those into...
From: dispositio on 22 Mar 2017

Merchant of Venice (Shakespeare; dir. Nicolas Stemann) Kammerspiele, Munich, Oct 2016

One might say that Nicolas Stemann doesn’t so much stage The Merchant of Venice as interrogate the play – or the very possibility of staging it now. That would only capture part of what this production is up to, but it’s an important...
From: dispositio on 20 Oct 2016

The Plough and the Stars (O’Casey; dir. Sean Holmes) Abbey Theatre Dublin, at Canadian Stage, Toronto, Sept 2016

This is really quick and dirty and off the cuff… Carly Maga’s excellent review in the Toronto Star (wow, it feels nice to be able to use “excellent review” and “Toronto Star” in the same sentence!) gives a quick summary...
From: dispositio on 16 Sep 2016

Doctor Faustus (Marlowe; dir. Maria Aberg) Swan/RSC, August 2016

I wasn’t too impressed with Maria Aberg’s production of Webster’s The White Devil at the RSC two years ago, and I went into this Faustus expecting more of the same: a modern show with an experimental edge on the surface that sounded...
From: dispositio on 8 Aug 2016

The RSC and London: A widening Gulf?

A quick one, in between shows: Compared to the theatre I’ve seen in London over the past two or three years, the four shows I saw in Stratford this week have been seriously, depressingly lacklustre — with the signal exception of Doctor Faustus,...
From: dispositio on 5 Aug 2016

The Alchemist (Ben Jonson; dir. Polly Findlay) RSC/Swan, Stratford-upon-Avon, August 2015

This will be short. You walk into the Swan. It might as well be the Sam Wanamaker Playhouse. There’s smoke in the air and lots of candles, and soon a bunch of people in Jacobean outfits will enter; there’s also a table laden with nicely antiqued...
From: dispositio on 2 Aug 2016

Cymbeline (Shakespeare, dir. Melly Still) RSC, August 2016

I’ll be seeing a lot of theatre over the next two weeks, and I’m badly out of practice in writing about shows — it’s been almost a year since I last did a proper review! (Is anyone even still reading this? Let’s find out…)...
From: dispositio on 1 Aug 2016

Directing and the Impossibility of Criticism

This autumn, I directed a show. It’s something I’ve wanted to do again for a long time — there was a period in my life when I thought I wanted to be a director, and when I returned to grad school, I did so with the ultimately failed...
From: dispositio on 29 Dec 2015

As You Like It (Shakespeare; dir. Polly Findlay), National Theatre, London, October 2015

I saw the second preview of this, so held off posting until after it had opened (and what follows are my off-the-cuff responses jotted down right after I saw the show and not really reconsidered since then). Given that it was a preview, I perhaps shouldn’t...
From: dispositio on 10 Nov 2015

Medea (Euripides/Rachel Cusk; dir. Rupert Goold), Almeida, London, October 2015

I should have hated this Medea. After all, I was massively annoyed by the National Theatre production last year, not just because of Ben Power’s pedestrian adaptation, but mostly because it reduced Medea from the status of a demigod to a woman frustrated...
From: dispositio on 24 Oct 2015

Hamlet (Shakespeare; dir. Lyndsey Turner), Barbican, London, October 2015

A set reminiscent of the dilapidated stately home that Alex Eales designed for Katie Mitchell’s Alles Weitere Kennen Sie aus den Kino in Hamburg, except more vast: its wide stretch fills the massive proscenium of the Barbican and recedes far into...
From: dispositio on 22 Oct 2015

Three Days in the Country (Turgenev/Marber, dir. Marber), National Theatre, London, October 2015

Very quick & short off-the-cuff review. Patrick Marber’s adaptation of Turgenev’s play (directed by Marber himself) is slick, smooth, professional, superficial, and extremely English. A cool set, made up of suspended perspex walls and...
From: dispositio on 21 Oct 2015

Eurydice (Sarah Ruhl; dir. Alan Dilworth), Soulpepper, Toronto, June 2015

Things that don’t happen as often as I would like: seeing shows in Toronto that assure me that theatre remains a vital art form here; seeing shows that only make sense as theatre, and couldn’t be a film or a novel; seeing shows that make me...
From: dispositio on 30 Jun 2015

German Theatre and the Power of the Moment: Acting, Text, and “Logic”

I have been trying to figure out and describe what exactly is so special about German theatre. In some ways, especially from the perspective of the English-speaking theatre world, it may seem like I’d need to draw up a pretty long list: no historical...
From: dispositio on 20 May 2015

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