by Maeve Campbell
Pinter Four continues Jamie Lloyd’s Pinter at the Pinter season with the Lyndsey Turner directed Moonlight starring Robert Glenister as ta dying patriarch who bemoans his family’s absence at his death bed to his long suffering wife (Brid Brennan). The second half play Night School, directed by Ed Stambollouian, is a totally different beast from a different Pinter era. Al Weaver plays a disgruntled ex-fraudster who discovers, on his release from prison, that his aunts have let out his bed-room to a mysterious and glamourous young school teacher (Jessica Barden).
by Lara Alier
Enter a club, where the dim lights make it hard to know if it’s you dancing, or you’re just touching someone else’s limbs. Behind the bar there’s a tall man, with broad shoulders and strong arms, his black beard defining a perfect jaw. He doesn’t ask because he knows exactly what you need. That cocktail is Chicago.
by Gregory Forrest
A whole day of Pinter. “Christ,” my landlord said, “I couldn’t think of anything worse.”
Jamie Lloyd is embarking on an epic project: to stage every single one of the influential
playwright Harold Pinter’s short plays over a six month period, at the theatre which bears his name. Pinter at the Pinter. Pretty neat huh?
by Amy Toledano
It’s the early 1930’s and, “Julian Marsh is puttin’ on a show!”. Pretty Lady is the latest production from the famous director, and all of the local, out-of-work actors are thrilled to have jobs again. But show business is never easy, and this one in particular is no stranger to the trials and tribulations that come with rehearsing a smash hit.
by guest critic Gregory Forrest
A new Alan Bennett play is an event. And hospitals – the epicentres of birth and death – are eventful places. Allelujah! is a match made in heaven then.
by Laura Kressly
Last summer, New York’s Shakespeare in the Park made international news with its production of Julius Caesar, updated to contemporary America with Caesar looking rather suspiciously like Trump. When the right wing press got wind of it, protests outside the theatre ensued.
Fortunately, this is much less likely at Nick Hytner’s similarly Trumpified Caesar. Unfortunately, his look at the devision between the ignorant, poor right and educated, middle class left is a simplistic and occasionally wildly inaccurate comparison to real life partisan policies.