Sam Mendes’s current production of King Lear at the National, starring Simon Russell Beale, is fascinating in many ways, perhaps the most notable being the ramping up of the body-count of this bloody play. In most stagings, the Fool disappears, his death referenced in a passing sigh, “my poor Fool
Being the artistic director of a major ballet company is like minding mice at a crossing. So many things can go wrong, and, it must seem, so few ever go right. The Royal Ballet has had a vexed history of artistic directors. Monica Mason’s predecessor, Ross Stretton, was sacked after
As the much-loved Arthur Marshall so profoundly noted, Ibsen is “not a fun one”. One could, with as much truth, say the same about Shakespeare’s rarely staged Timon of Athens: its misanthropy, missing motivations and mercurial shifts in temper do not spell a fun night out to most. It is
Well, we’re back to ‘what/who are critics for’ this morning. I reviewed a new (excellent) production of Sweeney Todd on Tuesday night (here). I liked it a lot (the clue was in the five stars I gave it). There were elements I liked less, which I covered — mostly the
Melodrama is not something we accept easily these days, tittering gently as the gore runs, moving restlessly in our seats as heroes or villains declaim to the gallery. So all the more odd, on the surface, that Sweeney Todd is the most popular of Stephen Sondheim’s musicals. On the surface.
The Ambassador Theatre Group has just announced a wonderful new innovation. Before a play begins in one of their theatres, Gordon’s gin ads will be projected onto the safety-curtains. Maybe I’m old and sad. I’m certainly grumpy. But really, does everything have to be an opportunity for advertising: do we