As 2017 draws to a close, it is worth recalling the highlights of the theatrical year. It was a good year for new plays but a great one – and certainly one of the best I can recall – for musicals. It is an unenviable task to select my top 10 shows of the year […]
A feast for the eyes but Salomé lacks the dramatic impetus to fully engage the audience, writes Laurence Green.
An infamous biblical tale is turned on its head in Yaël Farber’s radically reimagined version of Salomé at the National Theatre’s Olivier auditorium. The story of Salomé, who demanded the head of John the Baptist as reward for her seductive dancing has been told before notably by Oscar Wilde and Richard Strauss, but never like […]
Christopher Huggins, Teaching Fellow in European Politics, Keele University, looks beyond party political bluster to explain the Brexit Bill.
The amount of money the UK pays into the European Union became a crucial point of debate during the EU referendum campaign, ahead of the country’s vote to leave. The defining image of the time was Vote Leave’s campaign bus, emblazoned with the claim that the UK sends “the EU £350 million a week”. This […]
Christopher Nolan’s chosen subject for his latest grand scale project is the retreat and evacuation of the British Expeditionary Force in May/June 1940 from the beaches of Dunkirk. However, if you are going to the cinema thinking you’re going to see a traditional war film, you’re not. If you think you’re going to see an action […]
Laurence Green reviews the tap dancing, musical triumph that is Mark Bramble’s production of 42nd Street.
It is one of the most innovative openings in musical theatre – the curtain rises only slightly, as we glimpse those famous dancing feet, then fully to reveal tantalising rows of high kicking hoofers as they performed a dazzling toe-tapping tribute to the glory of Broadway. This terrific, perfectly orchestrated routine provides the prelude to […]
Peter McGahan looks at the current exchange-traded funds and cautions history doesn’t repeat itself, but it often rhymes.
My late father gave me many tips. One that often comes to mind is: ‘when everyone starts running one way, I walk, or even step aside’. Whilst managing money over the years, that one strategy has worked well. Goldman Sachs telling us oil would hit $200 a barrel was a sure fire sign to sell […]
One of the best plays of the past two decades, namely Joe Penhall’s Olivier Award-winning 2000 work Blue/Orange is back in a first-rate revival, directed by Matthew Xia, at the Young Vic Theatre.
One of the best plays of the past two decades, namely Joe Penhall’s Olivier Award-winning 2000 work Blue/Orange is back in a first-rate revival, directed by Matthew Xia, at the Young Vic Theatre. Set in an NHS psychiatric unit, the play focuses on a power struggle between two doctors, the older consultant Robert and junior […]
Paul Gardner considers why some populist votes are being ignored while Brexit, which has a significant constitutional impact and the narrowest of majorities, is held as a beacon of the ‘will of the people’.
Let’s face it, the only reason this “will of very slightly more than half of the people” has even got this far is that it is the will of Rupert Murdoch, Richard Desmond and Arron Banks. I’m sick to death of hearing the phrase “the will of the people” in connection with a split of […]
Newspapers have provided fertile material for playwrights, bringing an irresistible mixture of drama, comedy and enlightenment, as Ben Hecht’s, The Front Page and more recently, David Hare’s, Pravda have proved. The latest addition to this illustrious canon is James Graham’s entertaining and insightful new play, Ink (Almeida Theatre), directed by Rupert Goold, about the rebirth […]
Laurence Green reviews the enigmatic and demanding play, No’s Knife, adapted from Samuel Beckett’s Texts for Nothing.
A voice is given to a lost soul in No’s Knife (Old Vic) which is not so much a play but a quartet of Samuel Beckett monologues adapted from the author’s, Texts for Nothing, which he wrote in the Fifties and didn’t intend for performance. It’s an enigmatic and demanding 70 minutes which takes us […]