Les Blancs (National Theatre)
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| Photo: Mark Brenner |
The Maids (Trafalgar Studios)
Jamie Lloyd's production was thrilling, disturbing and, finally, deeply moving, with Zawe Ashton, Uzo Aduba and Laura Carmichael giving galvanising, fearless, exposing performances that hot-wired us to the still-potent weirdness and radicalism of Genet's vision.
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| Photo: Steve Tanner |
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| Photo: Alistair Muir |
Richard III (Almeida)
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| Photo: Manuel Harlan |
The Rolling Stone (Orange Tree)
Review here.
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| Photo: Mark Douet |
The Flick (National Theatre)
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| Photo: Mark Cocksedge |
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| Photo: Magda Hueckel |
Dogville (Nowy Teatr)
With its Brechtian approach (inspired by Trevor Nunn's Nicholas Nickleby, no less) Lars von Trier’s film seems a
(too?) obvious candidate for a stage adaptation. But, faithful to the plot yet theatrical in its own highly expressionistic way, Marcin Liber's production of Christian Lollike's text proved equally compelling. The
moment when Monika Buchowiec's Grace pulled back the canopy covering the rear of the stage to reveal a huge wall of tangled chairs was
especially sensational: the knotty nastiness of the town exposed.
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| Photo: Mitzi de Margary |
After October (Finborough)
Waspish but humane, populated by vividly drawn, relatable characters, Rodney Ackland's funny, poignant plays are revived all too rarely on UK stages. This makes Oscar Toeman's perfectly pitched revival of After October all the more special. The production is especially notable for its glorious performances from Sasha Waddell and Adam Buchanan as the ex-actress mother and writer son struggling to survive in '30s London, supported by a great ensemble including Beverley Klein, Josie Kidd, Andrew Cazanave Pin and Jasmine Blackborow.
Honourable Mentions: Torn Apart (dissolution) (Theatre N16), The Deep Blue Sea (National Theatre), Phaedra(s) (Barbican), German Skerries (Orange Tree), Jess and Joe Forever (Orange Tree), Ziemia obiecana (Teatr Wielki w Łodzi)
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