Theatre

Opera: Andrea Chénier

By Jessica Duchen, January 29, 2015

By Umberto Giordano

Nobody at Covent Garden could have guessed that shortly before Andrea Chénier's opening, vast protests for freedom of speech would occur in Paris. In Giordano's French Revolution blockbuster the eponymous poet is condemned to death for using his pen as "a weapon against hypocrisy". Among the opera's weaknesses, though, is that we never learn what he said.

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Am I a bad Jew for giving my play an 'offensive' title?

By John Nathan, January 22, 2015

Of all the posters advertising plays, there is one that sticks out more than any other. It's a picture of two young men and a woman beating the hell out of each other. Above them, in bold, unmissable lettering is the play's title: "Bad Jews".

"Nobody suggested I change it," says 31-year-old New York playwright Joshua Harmon. "But I was afraid they were going to.

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Review: Bull

By John Nathan, January 22, 2015

Mike Bartlett burst on to the theatre scene in 2007 with a short, sharp drama about a family ripped asunder by bitter parents. He has gone on to write much bigger stuff, the best of which is King Charles III, still in the West End, a modern history play that imagines what might happen if the next monarch meddles in politics.

Bull sees his return to close-combat theatre.

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Could I ever really be happy if I marry out?

By Daniella Isaacs, January 15, 2015

To reach the ripe old age of 102 years is no mean feat. But to reach it without a partner at your side must be even more of a challenge. Around a year ago, I asked my wonderfully eccentric great aunt if she had any regrets as she entered her second century. With a melancholic smile, she uttered: "I wish I had a family".

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Review: Women on the Verge of a Nervous Breakdown

By John Nathan, January 15, 2015

The colourful, Spanish brand of kitsch that made Pedro Almodovar's film so vivid has an energising effect on director Bartlett Sher's London version of this musical.

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Henry IV Parts I and II

By John Nathan, January 8, 2015

The differences could not have been starker. Before coming to this production, with a brilliant Antony Sher as the old rogue Falstaff, the previous version I saw of Shakespeare's two-parter was the Donmar Warehouse's. Phyllida Lloyd's all-woman production compressed the plays into two uninterrupted hours and set the action in a modern female prison.

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Interview: Olivia Jacobs and Jon Fiber

By John Nathan, December 18, 2014

Who are the most successful collaborations in theatre? Tim Rice and Andrew Lloyd Webber? Rodgers and Hammerstein? Well, you can, with only a little exaggeration add husband-and-wife team Olivia Jacobs and Jon Fiber who are responsible for - count 'em - five shows running simultaneously over the festive holidays.

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Review: The Merchant of Venice

By John Nathan, December 18, 2014

This RSC production's original Shylock in 2011 was played by Patrick Stewart who, before cutting his pound of flesh, covered his head with a tallit and intoned a prayer. Ah yes, that would presumably be the little-known Jewish prayer recited before killing a Christian.

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Review: 3 Winters

By John Nathan, December 11, 2014

Before my job as a theatre journalist, I happened to spend a week or so in Croatia as a press photographer during the war years in the 1990s. Among my strongest memories are of Paddy Ashdown striding passed shell-shocked Bosnian refugees on his way to a meeting to promote peace. But I also remember the feel of a country that, like much of the region, was in the grip of nationalism.

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Review: Assassins

By John Nathan, December 4, 2014

The idea that musicals are brimful of high kicking chorus lines and glitzy optimism must surely have had its throat cut a la Sweeney Todd by now; or been beaten to death as happens in Urinetown, or electrocuted - a fate agonizingly dwelt upon in The Scottsboro Boys.

In Sondheim's little-revived 1990 musical - the darkest of the lot - the chair is just one form of premature death.

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