Carey Mulligan performs a Dennis Kelly script, under Lyndsey Turner’s direction. I’ll just let that sentence sink in for a moment. It sounds brilliant, right? Well it is, and this dream offering from the Royal Court does not disappoint.
Carey Mulligan performs a Dennis Kelly script, under Lyndsey Turner’s direction. I’ll just let that sentence sink in for a moment. It sounds brilliant, right? Well it is, and this dream offering from the Royal Court does not disappoint.
In an intense hour of fast-paced, dark comedy, Mark Conway’s performance of Alex Packers’s one-man show is nothing short of captivating and relevant. Following the Parkland school shooting in Florida just four weeks ago, the protagonist presents a chilling insight into the ways in which modern day pressures, technological interventions and social outcasting can drive us to commit the unthinkable.
An honest, uncensored night at the pub where Irish storytelling is the cure to all ails. The Weir, Winner of the 1997 Olivier Award for Best New Play, is a must see. Conor McPherson’s chilling, modern classic comes to Cambridge as part of a UK tour to mark the play’s twentieth anniversary, and it is enchanting.
There are some really great lines in John Ward’s new version of Electra. ‘No one is innocent’, ‘the cycle must be broken’, ‘God is in the deed’. They throb with a sense of ‘the tragic’, that artistic mode that has permeated cultural thought for centuries, and to which an entire term of study was devoted at the university I attended.
One of Shakespeare’s most popular and iconic tragedies during his time and the modern day, Hamlet is considered to be the ultimate tale of revenge. Simon Godwin’s adaptation offers a unique take on the narrative, his production drawing on various African influences ranging from the West to South Africa. Taking on the role of Gertrude, Queen of Denmark; Lorna Brown speaks to Theatre Full Stop about how she’s approached taking on the complex role as well as tackling Shakespeare’s rich language.
Phillip Ridley’s collection of gender-fluid monologues sees Georgie Henley and Tyrone Huntley swapping roles between performing three of the six Angry monologues each night. With topics varying from clubbing to calamities, blackholes to bloodshot eyes, the collection shows no real through line of thought or connection, and at times feels like a mashup of potential play ideas merged clumsily together.
Albert Camus’ novel The Stranger was published in 1942. It tells the story of the Frenchman Meursault who shoots an Algerian Arab. The victim remains nameless. His only raison d’être is serving as Camus’ tool for developing his existentialist philosophy whilst the victim is treated with benign indifference. The Algerian journalist Kamel Daoud decided to give the anonymous victim a name. In his debut novel The Meursault Investigation (2013), he retold the story of The Stranger – from the victim’s perspective.
American naturalism seeped in drama and suspense, Strangers on a Train comes to the Cambridge Arts Theatre but is slow leaving the platform. Revealing the train and our two protagonists, the beginning sets up the story aptly but from then on we trudge through character guilt, remorse and challenge for no resolve.
Brighton pier, a place of beach time pleasure and circus like design, becomes a destination of death and despair in this gripping new noir thriller.
In summer 1968, Viet Nam Discourse by Peter Weiss, directed by Peter Stein, premiered at the Münchner Kammerspiele. Whilst the cast were taking their bows, actor Wolfgang Neuss asked the audience to donate to the cause of the Vietcong. Neuss’s text was still part of the play as written by Peter Weiss. The actors then collected money at the exits, meant for the purchase of weapons. This action caused a major scandal and led to the cancellation of the production after only four performances by the then artistic director August Everding.