Sunny Afternoon is a musical that charts the rise of The Kinks, incorporating (unsurprisingly) the music and lyrics of Ray Davies and a new book by Joe Penhall, the Olivier-award winning playwright. The story follows the ups and downs of … Continue reading →
Loyalty, written by Sarah Helm, is set during the run-up to the Iraq war, and around the period of the inquiry into it. She brings a unique insight into the machinations of government at this time – she is the … Continue reading →
small hours is different. It would be as at home at Tate Modern as it is in the Hampstead Theatre’s Michael Frayn space. Indeed as the small audience (restricted to just 25 per performance) assembled in a hallway, we were … Continue reading →
If Martin Scorsese collaborated with Tennessee Williams, you might end up with something like Gary Lennon’s superb .45. Set in New York’s Hell’s Kitchen in 1977, this play bristles with sexual tension, moral ambiguity hangs thickly in the air, and … Continue reading →
In a scene towards the end of Enlightenment, one of the characters is wrapped in a sheet; one assumes the impression of a straitjacket is deliberate. Three-quarters of the way through this production, I was feeling similarly constrained. I wasn’t … Continue reading →
At several points during Darker Shores, the characters debate whether things are real because we perceive them, or whether they are real because we feel them. The 11-year-old boy next to me for last night’s performance both perceived and felt … Continue reading →
