It would be so much fun to be part of Michelle Terry’s ensemble cast that performs both Hamlet and As You Like It to open this year’s season and her tenure as artistic director. They’re having a great time in what are something of a return to the Rylance era of the actor-manager, but uneven pacing and a smattering of interesting but disconnected choices lead to a lack of cohesion that indicates a lack directorial voice.
by guest critic Maeve Campbell
On entering a seven-hour long production one might ask the following questions: will I understand the plot, will I be able to sit through it for the duration and will it be worth the plane journey, holiday costs and copious amounts of pilsner consumed over the weekend? The answers are no and no but, to the last question, a resounding yes. Directed by the controversial Frank Castorf, famously ousted as leader of the Volksbühne theatre after nearly fifteen years of service, this production is his swan-song. Castorf’s previous work has been described as ‘deliberately incoherent’, and this Faust does not disappoint.
by an anonymous guest critic
Worth A Flutter written by Michael Head and directed by Jonathan Carr is a simple story of love and its complications that sadly misses the mark. Set in a greasy spoon in Southwark, we see a week in the life of two men and how their affections for one woman changed them forever. While the energy and commitment from all the actors is high, the piece lacks the depth it is trying to convey. Instead, it spends most of its time on odd, offensive and tasteless humour.
by Laura Kressly
Will is having a rough time so isn’t inclined to leave his Playstation. His worried mate Jay convinces him to join the gym with him, in the hope that it pulls him out of his funk. Unknowingly, Jay creates a monster. The gym gives Will not just new-found purpose, but triggers an addiction that totally transforms him from quiet and shy into a vain, self-absorbed and destructive force.
by guest critic Meredith Jones Russell
Princess the dog is pregnant, and someone needs to stay in to look after her, but father Bo, mother Boo and daughter Pickle all want to go out.
So far, so straightforward, you might think. But the chaos that follows in One Green Bottle, including but by no means limited to a chair through a TV set, a key down a toilet, Mickey Mouse, a disembowelled sheep and an awful lot of chains, might suggest otherwise.
by guest critic Lara Alier
2018, the year of the woman – in some parts of the world. I could probably count them on one hand.
by guest critic Ava Davies
Boys, the inaugural piece by physical theatre group The PappyShow, is about exactly that. It’s an exploration of manhood, of masculinity, of what it means to be a man of colour in the UK today. It’s about mess and silliness and play and pain. It’s about the complexity of selfhood – because how can one man possibly contain all these multitudes?