Theatre

Molière deep-fried and sizzling

By John Nathan, October 22, 2015

A Wolf in Snakeskin ShoesTricycle

It turns out that spilling from an agonisingly slow train, and arriving 10 minutes late into Marcus Gardley's ferocious version of Molière's Tartuffe is no bad way to see an updated classic.

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Review: Teddy Ferrara

By John Nathan, October 15, 2015

There is a lot to welcome here; the return of former Royal Court artistic director Dominic Cooke to the stage, for one.

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Review: The Father

By John Nathan, October 8, 2015

Is Alzheimer's the new Holocaust? Ricky Gervais famously told Kate Winslet, after she won her Oscar for The Reader: "Didn't I tell you? Do a Holocaust movie and the awards will come."

Well, the same might now be said of the brain disease that has featured in Oscar-winning movies such as Iris, about Iris Murdoch played by Judi Dench, and Still Alice, starring Julianne Moore.

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Review: Farinelli and The King

By John Nathan, October 8, 2015

Claire Van Kampen's play about the 18th-century castrato singer Carlo "Farinelli" Broschi - who gave up a glittering opera career to sing to an audience of one, albeit the King of Spain - could so easily have been one of those plodding bio-dramas.

But with the mercurial Mark Rylance as Spain's depressive monarch, together with an inventive production (directed by John Dove) that is at times lik

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Review: Hangmen

By John Nathan, October 1, 2015

What must it be like to be the number two at something - especially when you know you have no chance of being number one. The second tallest man in the world must surely have wondered how to knock the tallest man off his pedestal, not that he needs one.

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Joy of shtetls, sex and suspicious parents

By Alice Malin, September 24, 2015

It is a line that carries so much meaning: "I see it is with your daughter I must speak." The Marriage Broker - maker of matches between inventors and society belles, millionaires and the progeny of the very best families - realises that the person wearing the trousers in this family is not the tongue-tied man of the house.

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Review: Dinner With Saddam

By John Nathan, September 24, 2015

How is a playwright to tackle the most serious foreign policy calamity since the Second World War? An exhaustively researched Chilcot-like analysis? One of those serious-minded if dramatically dry verbatim plays?

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The greatest critics are also theatre's greatest fans

By Gerald Jacobs, September 17, 2015

A fortnight ago in these pages John Nathan, the JC's theatre critic, advanced the cause of his profession in the face of a growing onslaught by inexperienced, and sometimes inarticulate, amateurs blogging or tweeting their opinions about the latest plays.

Indeed.

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Opera: Orpheet Eurydice

By Stephen Pollard, September 17, 2015

With the Royal Opera House currently on tour in Japan, Sir John Eliot Gardiner's English Baroque Soloists and Monteverdi Choir take over from the home team for this new production of one of the greatest of all operas - Gluck's Orphee et Eurydice.

And they alone would make this a performance not to be missed.

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Review: Photograph 51

By John Nathan, September 17, 2015

After watching a play about credit not being given where it is due, it would be wrong to say here that Nicole Kidman's first performance on the London stage since 1998 - when a critic famously described the star as ''theatrical Viagra" - is this time the "opposite of theatrical Viagra." At least not without giving full credit to my guest on press night who said it. But it's true.

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