Theatre

It's Soho, but not as we now know it

By John Nathan, November 18, 2013

Mojo
Harold Pinter Theatre, London SW1

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It’s Ayckbourn by a different playwright

By John Nathan, November 4, 2013

Raving
Hampstead Theatre, London NW3

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Lyons of fire and Ghosts well worth seeing

By John Nathan, October 16, 2013

The Lyons
Menier Chocolate Factory, London SE1

The eponymous Lyons family in Nicky Silver’s New York play are so dysfunctional, it’s a minor miracle they don’t come across as a playwright’s construct rather than real people.

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The difficulty of dramatising the gas chambers

By John Nathan, October 7, 2013

Religion and Anarchy
Jermyn Street Theatre, London SW1

Hysteria
Hampstead Theatre, London NW3

I have never been one of those who think the Holocaust should not be depicted on stage or film. Whether the primary purpose of a play or movie is to inform, warn against the depraved depths to which people and their dogmas sink, or even to entertain, the Shoah is a legitimate theme.

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Playing it for laughs proves a serious error

By John Nathan, September 16, 2013

Edward II
Olivier, London SE1

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It's a farcical guilty pleasure

By John Nathan, September 9, 2013

THARK
Park Theatre, London N4

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This latest Nora ends up driving me batty

By John Nathan, September 3, 2013

A DOLL’S HOUSE
Duke of York’s Theatre, London WC2

Classic plays such as Henrik Ibsen’s 1879 ground-breaker remain great because they reveal as much about our lives as they did about the audiences who first saw them.

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Review: The Same Deep Water as Me

By John Nathan, August 26, 2013

Nick Payne is the author of the brilliant Royal Court play, Constellations, for my money the most thrilling new work of 2012. And so a Payne world première is now a much-anticipated thing.

The setting for the latest play is as bland as it is possible to imagine — a down-at-heel lawyer’s office in Luton.

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Review: Titanic

By John Nathan, August 18, 2013

A gantry, a couple of ropes and a big step-ladder are all that Thom Southerland’s production needs to suggest a ship. To evoke size, the excellent cast — who brilliantly double-up as upper class and below-stairs passengers and crew — do something that reminded me of how people respond to the Grand Canyon. They stand dumbstruck, wide-eyed and open-mouthed at the sheer scale of the thing.

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Review: The Pride

By John Nathan, August 18, 2013

Alexi Kaye Campbell’s first play, previously seen at the Royal Court in 2008, is known as a very good gay rights play. This is a shame because attaching the word “rights” — or indeed “gay” — to a play immediately saddles it with a worthiness that can only narrow its appeal. True, in the shorter second act, the play gets close to speechifying and proselytising. But never mind.

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