Tonight should have been the press night for Jack Absolute Flies Again, written by Richard Bean and Oliver Chris after Sheridan
For the National Theatre
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“We seek out revolution wherever we can find it”
The Royal Court’s The Big Idea strand of work commissions a range of responses to the plays running there and with Hangmen going great guns in the main house before heading over the Wyndham’s for a well-deserved West End transfer, I headed over this Saturday afternoon for It’s Like the 60s Never Happened. Four short plays, each “imagining a world where one of the major 1960s social political or technological innovations never happened”, performed in unexpected locations on the Royal Court site.
I’ve been on a couple of similar theatrical trips here before and there’s something irresistible about getting to see the backstage nooks and crannies which are so inventively used. This time, we got to visit a rehearsal room, a little terraced garden, a stairwell and the office that sits behind those iconic red letters out front and though they may not sound the most inspirational of places, the way in which each of the directors used them really did cultivate the sense of something special. Continue reading “Review: It’s Like the 60s Never Happened, Royal Court”
“Which is better – to have rules and agree, or to hunt and kill?”
Watching theatre outdoors is always a bit of a challenge in this country and the weather for the last while has been so changeable and unseasonably cold at times that the prospect of going to see Lord of the Flies at the Open Air Theatre in Regent’s Park was not one that filled me with much anticipation. But as may be evident by now, it doesn’t take too much to convince me (3 gin and tonics, if you’re wondering) and thankfully the gods were kind to us with no rain falling, even if it was extremely chilly.
Timothy Sheader’s production of William Golding’s classic novel of a group of schoolboys stranded on a desert island and left to their own devices, is nominally an updating – hints abound in the debris of the crashed-plane set – but in truth, very little concession is made to this. The language, the diction, the performances all speak of Golding’s original post-war era which fitted the rather traditional feel better than any pretence at locating this story firmly in the modern day. Continue reading “Review: Lord of the Flies, Open Air Theatre Regent’s Park”