Still in exile from his mother Russia, director Maxim Didenko presents his second work at Marylebone Theatre, having previously contributed The White Factory, with which the new venue opened in 2023.
The Last Word at Marylebone Theatre.
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By Stuart King Tuesday, September 10 2024, 08:32
Still in exile from his mother Russia, director Maxim Didenko presents his second work at Marylebone Theatre, having previously contributed The White Factory, with which the new venue opened in 2023.
The Last Word at Marylebone Theatre.
By Stuart King Saturday, September 7 2024, 14:12
Given the pedigree — Barney Norris has both written and directs the three hander — hopes were high that THE BAND BACK TOGETHER would prove as substantial as VISITOR for which he was awarded the Critics’ Circle Most Promising Playwright back in 2014.
Laura Evelyn, James Westphal, Royce Cronin in The Band Back Together at Arcola Theatre. Credit Kate Hockenhull photography
By Stuart King Sunday, September 1 2024, 19:41
What on paper appears a disjointed and artificial amalgamation of two distinct plays — even two diametrically different stories — intertwines so effectively in its closing stages that the impact is hard to ignore… and once again it is the female lived experience (albeit in vastly differing circumstances) which provides such a rich source of material in Lucy Hayes’ compelling drama.
Bitter Lemons. Photo (c) Alex Brenner
By Stuart King Friday, August 30 2024, 11:06
Sean Holmes and Naeem Hayat co-direct the Bard’s shortest and possibly most riotous offering THE COMEDY OF ERRORS — currently being staged at Shakespeare’s Globe. And what an ebullient burst of madcap mayhem, the misadventures prove to be.
Daniel Adeosun as Antipholus of Syracuse and Phoebe Naughton as Courtesan in The Comedy of Errors at Shakespeare's Globe (© Marc Brenner)
By Stuart King Thursday, August 29 2024, 13:14
Following on from the two previous instalments (MICHAEL and DELROY), the final part in the DEATH OF ENGLAND trilogy CLOSING TIME opened @SohoPlace on Wednesday evening, providing a fitting conclusion to the most energised and visceral State of the Nation commentary on current English society for a decade.
Sharon Duncan-Brewster (Denise) in Death of England: CLOSING TIME. Credit - Helen Murray.
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