Reviews & Listings

The Father

A work that has won a Moliere – the top theatre award in France – for best play of 2014 deserves a fine cast and a top-notch translator; the Ustinov has laudably provided both for the second of its trio of black comedies in new translations, which add up to another imaginative season from artistic director Laurence Boswell.
Kenneth Cranham...

Solomon and Marion

This two-hander set in modern-day South Africa is a microcosm of a society in flux. Written and directed by Baxter Theatre Centre chief and artistic director Lara Foot, it tells the tale of lonely and embittered Marion, who is ready to give up on life – until the unexpected arrival of Solomon, the grandson of her former servant.
The two,...

Abigail's Party

Surprisingly, Abigail’s Party is the first Curve production to be played in the round, following an inspired choice to rip out the seats in the studio space.
Director Suba Das gets full value from the experiment and from a cast in fine form.
Four banks of seating push tightly against David Woodhead’s living room set, which is dominated by a...

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Hamlet by Harry Venning for week 43, 2014




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In this week's issue

    Exclusively in the October 23 issue of The Stage
    • Beverley Knight on her love of theatre and why Miley Cyrus needs to up her twerking game
    • To play the understudy? John Byrne helps a reader wrestle with his dilemma in Careers Clinic
    • As Not Going Out returns to BBC1, Katy Wix tells Matthew Hemley why she swapped her RSC dreams for a life of comedy
    • There's never been a better vintage in exportable French theatre, finds Nick Awde, as he catches up with Joel Pemmerat, founder of the Compagnie Louis Brouillard
    • "It's a well known fact that I run the National Theatre." The Stage finds out what makes stage door keepers tick
The Orange Tree Theatre in Richmond, London. Photo: Noel Foster