BWW Review: JULIE, National Theatre
Polly Stenham's updating of Strindberg's Miss Julie moves the action to contemporary London, and finds both contempt and sympathy for this new version of the idle rich. But, shorn of its 19th-century context, the play struggles to make the class transgression feel dangerous, nor does this 85-minute piece dwell long enough on subjects like racism or sexism.
Photo Flash: First Look at JULIE at the National Theatre
Miss Julie finds a new home in contemporary London. Wild and newly single, Julie throws a late night party. In the kitchen, Jean and Kristina clean up as the celebration heaves above them. Crossing the threshold, Julie initiates a power game with Jean. It descends into a savage fight for survival.
LET THERE BE LIGHT: Lucy Carter On Dance, Multimedia and Expressing Ideas
The latest instalment of LET THERE BE LIGHT, our series showcasing some of Britain's best theatrical lighting designers, focuses on Lucy Carter. A regular collaborator with Wayne McGregor, as well as numerous other leading choreographers and dance companies, she's also worked on operas and plays, including Husbands & Sons at the National Theatre and Oil, currently playing at the Almeida.
BWW Review: OIL, Almeida Theatre, 14 October 2016
You have to admire the grand scope of Ella Hickson's long-gestating new play, which grapples with urgent ideas about this vital but declining resource amidst audacious magic realist time travel. Stretching from 19th-century Cornwall to a dystopian future, it's DH Lawrence meets Black Mirror, by way of David Hare - anchored by insightful deconstruction of the mother/daughter relationship. If it becomes unwieldy in places, it's still a rich and absorbing piece of work, and an all-too-rare female odyssey.
Review Roundup: THE AMEN CORNER at the National Theatre
Rufus Norris' production of James Baldwin's The Amen Corner opened at the National Theatre and follows the life of Sister Margaret, a pastor of a Harlem church. It stars Marianne Jean-Baptiste, Eric Kofi Abrefa and Sharon D Clarke.