★★★★☆ Within the continuum of Godot productions, director Paul Milton’s take is certainly a traditional one. The air of this staging is not so much deference though, more an attitude of if-it-ain’t-broke-don’t-fix-it. The set and set-up go fairly unaltered from their textual outline: the tramps, the tree, the traveller and his slave.
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★★★★☆ Human nature doesn’t change much over time, and this is strongly demonstrated in Patrick Marber’s adaptation of August Strindberg’s Miss Julie. The original play premiered in 1888, and Marber’s adaptation is set in the 1940s, played out in front of a 2019 audience, and yet the dynamics are instantly recognisable.
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★★★★☆ Taken at face value, it’s hard to imagine that a play about three middle-aged men arguing over a very expensive painting could have universal appeal. However, ART manages to take what sounds like an elitist premise, and turn it into a warm and funny piece of theatre which looks at the nature and power dynamics of male friendship.
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We have been trying to review/interview Tape Face in the UK for the past four or five years but I only managed to catch up with him on his recent tour of Holland and Belgium . . . The guy comes on wearing an ordinary jacket, jeans and striped t-shirt. Slung around his neck is a leather shoulder bag. But what makes you remember, what makes him stand out is that he has greased spikey hair, a lot of heavy black eye make-up and, rather conspicuously, a strip of black gaffer tape across his mouth. Hence the name – Tape Face.
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★★★★★ After welcoming the audience personally at the door and offering everyone a cup of tea and a hobnob biscuit, Lockyer begins his story. He was a successful actor for the RSC, playing Mercutio in Romeo and Juliet at Stratford. He had some hours to kill before a performance.
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★★★☆☆ The nature of the piece makes it difficult to generate any real tension, but the cast make up for it with some witty cameos. It’s an example of a genre that sets out to do nothing but entertain and that it does with some style.
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