Stage

Review: Travels With My Aunt

By John Nathan, May 20, 2013

In Giles Havergal’s amusing adaptation of the Graham Greene novel, four actors in dull suits interchange the role of Greene’s narrator — retired bank manager Henry Pulling — and all the other male and female characters in the gently subversive story.

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Review: The Hothouse

By John Nathan, May 20, 2013

Harold Pinter’s vision has come true. Up and down the land, institutions set up to care for the vulnerable have become callous places of torment. As a series of disturbing reports have shown, in a number of places, residents are at best routinely treated without respect and, at worst, abused. In that sense, real life has overtaken this prescient play.

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Hytner: Othello's race 'not a big deal' to the Venetians

By Jennifer Lipman, May 14, 2013

The racism in Othello is not as pronounced as the antisemitism in the Merchant of Venice, the director of the National theatre said this week.

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Review: The Weir

By John Nathan, May 13, 2013

Best watched with a pint in the hand, there is no more convivial and captivating evening at the theatre than Josie Rourke’s faultless revival of Conor McPherson’s perfect play.

Tom Scutt’s design evokes exactly the run-down charm of a rural County Leitrim boozer and Rourke’s production shows the solitude of men who drink within.

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Review: The Tempest

By John Nathan, May 13, 2013

There’s a world-weary naturalism to Roger Allam’s likeable Prospero. Other actors lay on thick the other-worldly wisdom which the deposed Duke of Milan has adopted ever since he was cast adrift in a sieve-like boat with his baby daughter, Miranda. But not Allam. The Thick of It star brings a shrugging, almost Tony Hancock-style comic fatalism to his Prospero.

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Review: Passion Play

By John Nathan, May 13, 2013

Like Pinter’s Betrayal, Peter Nichols’s 1981 play about marital infidelity turns theatrical convention on its head. Pinter’s work (written in 1978) tells his story in reverse while the big idea in Nichols’s play hinges on married couple Eleanor and James (Zoe Wanamaker and Owen Teale) sharing the stage with their alter egos (Samantha Bond and Oliver Cotton).

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Interview: Amy Herzog

By John Nathan, May 13, 2013

What do you do with a family heirloom such as Marxism? It’s not the kind you can sit on a mantelpiece or hang in a wardrobe. But it is the kind you can write a play about, which is what New York dramatist Amy Herzog has done — twice.

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Young director hopes to emulate Billy Elliot success

By Jennifer Lipman, May 10, 2013

A director who already has a string of stage hits to her name has been appointed to a prestigious post at London’s Young Vic theatre.

Natalie Abrahami, whose recent production of After Miss Julie was praised by critics, has been chosen as the associate director at the Waterloo venue under the Genesis Fellowship scheme to encourage young theatre talent.

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Review: Primal Scream

By Paul Lester, May 6, 2013

It is 22 years since Primal Scream released a truly important album (Screamadelica) and 13 years since their last great one (XTRMNTR). The former captured the heady moment when house music entered the mainstream; the latter was the most successful example of the band’s rampant eclecticism.

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Review: Othello

By John Nathan, May 6, 2013

The two productions that have bookended Nicholas Hytner’s decade as artistic director of the National Theatre, Henry V and Othello, have much in common. There’s Shakespeare, Adrian Lester in the title roles and an ability to do that thing which Hytner has said National Theatre productions should strive for — holding up a mirror to the nation.

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