Mid-Year Theatre Review 2017

As we are now well in to July, my mid-year theatre review is well overdue. 2017 is already shaping up to be a fantastic year of theatre and there is still so much more to come (I’ll talk a bit about that at the end). I already anticipate my top ten of the year will be a difficult selection, so at least this way, more of the productions I’ve loved in 2017 will make it on to at least one of my lists!

So, these are the current highlights of my theatre year. They are in no particular order, as I always finding ranking productions that way quite difficult, unless something stands head and shoulders above the rest.

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1. Hamlet (Almeida / Harold Pinter Theatre)

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This production of Hamlet was probably my most anticipated show of 2017 and I’m thrilled it not only lived up to my expectations, but exceeded them, so much so that it’s probably my favourite Hamlet, a crown that has been Mr Tennant’s ever since 2008. It’s simply because Robert Icke’s decisions with the text and how to stage certain scenes is fresh and innovative. Watching this Hamlet had me experience the story and the motivations of certain characters in a whole new light. Thrilling, exhilarating and incredibly emotional, it’s ensemble cast are superb and it has one of the most beautiful endings I’ve ever seen on a stage. You have until 2nd September to see it. Go, go, go! Read my first review of this production here.

2. An Octoroom (The Orange Tree Theatre, Richmond)

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I bought a ticket to An Octoroom after reading so much praise for it on Twitter from theatregoers whose opinions I value more than any professional critic and I’m so pleased they brought it to my attention. Brandon Jacobs-Jenkins’s play was the complete theatre experience – surprising, inventive, powerfully emotive, yet funny in places too. The cast were superb (especially Celeste Dodwell as Dora) and the staging truly brought the play to life in the intimate space of the Orange Tree. I would love to see this have another life somewhere in the West End.

3. Dear Evan Hansen (Music Box Theatre, Broadway, NYC)

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Besides Hamilton, this is probably the most talked about show in New York at the moment and I was taken by surprise by how moved I was by it. It’s an emotional story about feeling alone, wanting to belong and giving people a hope that if they reach out, someone will help them and Ben Platt’s central performance is one I will never forget, so full of raw emotion, not to mention an impressive vocal. I don’t have the soundtracks to many musicals, but I listen to this one quite often. Read my full review here.

4. The Little Foxes (Samuel J. Friedman Theatre, Broadway, NYC)

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I was unable to see both versions of this play, in which Laura Linney and Cynthia Nixon alternate the roles, but despite this, it remains one of the strongest productions I’ve seen so far the year. I chose to Cynthia as Regina and Laura as Birdie and I wasn’t disappointed. Nixon was truly cold and calculating in the role, while Linney brought the tragedy of Birdie’s life to the stage. With a beautiful set and a strong ensemble, particularly Richard Thomas as Regina’s husband, who no doubt would have been happier with Birdie, this was a joy to watch. It would be lovely to see this play come across to London soon.

5. Angels in America (Lyttelton, National Theatre)

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I have a second trip to this epic two play event next month and I certainly cannot wait to experience every moment of it again. Told across 8 hours, this seminal play is certainly not an easy one to watch, but its story is one that we should all see. The cast is one of the finest you could wish for, with Denise Gough bringing yet another raw and stunning portrayal to the stage, together with Nathan Lane, Russell Tovey and James McArdle. However, it was Andrew Garfield that blew me away as Prior Walter, a character so full of life, whose journey is the axis of the story. It will be a production talked about for years.

6. The Ferryman (Royal Court Theatre)

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Jez Butterworth has already established himself as one of the best playwrights we have and he follows Jerusalem and The River with another powerful story, set in Armagh, Northern Ireland in 1981, which weaves The Troubles in to the story of one family and its struggles. Paddy Considine’s stage debut is certainly impressive and his chemistry with Laura Donnelly shines off the stage. You will laugh, cry and probably gasp before the three hours of The Ferryman has passed. Buy your tickets for its West End run (until January 2018) now.

7. Who’s Afraid of Virginia Woolf? (Harold Pinter Theatre)

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There are only two words really needed to explain why this production is on the list – Imelda Staunton, who is utterly outstanding as the acid-tongued Martha! To be fair though, that doesn’t do justice to the other fine performances (especially Conleth Hill as her weary husband George). There was something darkly entertaining about watching Martha and George tear shreds off each other and some of the sharp, biting dialogue had me laughing out loud, even as I grew more and more uncomfortable. I can imagine it’s easy to overdo the dramatics in this play and yet director James Macdonald’s production didn’t do this. In fact, in a frightening way, it feels very believable. Read my full review here.

8. Consent (Dorfman, National Theatre)

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Another success from the National this year was Nina Raine’s latest play, which focused on the powerful subject of rape and consent, in the context of a group of criminal barristers, whose professional and personal lives become caught up in what is a difficult topic to think about. Intelligently written and superbly acted by its cast, I was gripped by Consent from start to finish and wish I’d had the chance to see it twice.

9. Gloria (Hampstead Theatre)

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A second, but fully deserved, entry for Brandon Jacobs-Jenkins is a play that has such a powerful end to Act One that the programme has a sealed spoiler section! I’ve already seen this twice to fully appreciate the sharp, biting dialogue, which makes you laugh one minute even when you shouldn’t, before making you gasp the next. You have until Saturday to catch it if you can. Read my spoiler-filled review here, or the spoiler-free one here.

10. Shirley Valentine (UK Tour at Lyceum, Sheffield)

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A trip with my parents to the theatre to see this revival of Willy Russell’s production surprised me for the simple fact that I didn’t expect to enjoy it as much as I did. Effectively a one-woman show, in which Jodie Prenger brought the iconic Shirley Valentine to life, it made me laugh, but was also rather moving too, as this older woman bravely reaches for a fresh start in life. I left the theatre with a huge smile on my face and sometimes that’s exactly what you need.

 

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Special mentions so far this year also need to go to the continued magic of Harry Potter & the Cursed Child, whose original and new cast ensure the Palace is the happiest theatre atmosphere in town, The Glass Menagerie, which I managed to see before its run ended and a NYC return trip to the glorious Groundhog Day!

Coming up is Ben Whishaw back at the Almeida in Against, the arrival of the Follies at the National (even more Imelda Staunton!), the opening of a brand new London theatre in the Bridge Theatre, whose first show Young Marx stars Rory Kinnear and Oliver Chris, Apologia with Stockard Channing and the arrival of the Tony Award-winning Oslo, to name just a few.

Yes, there’s no denying the end of year review is definitely going to be tough in 2017!

 

 

 

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Theatre to see in 2017!

Happy New Year!

I’ve looked back on my year of theatre in 2016, which means it’s now time to focus on what lies in store over the next twelve months. The good news is that there is already quite a lot to be excited about and below are 17 shows I’d put on your list for the new year!

1. Hamlet (Almeida Theatre, 17th February – 8th April)

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There is so much I’m excited about regarding the  forthcoming Almeida production of Hamlet. It’s my favourite Shakespeare play, directed by probably my favourite director at the moment, Robert Icke, whose Oresteia and current Mary Stuart productions are some of the finest plays I’ve seen and it will see Andrew Scott take the title role. He may be best known for playing Moriarty in Sherlock, but he is also a superbly versatile stage actor and I cannot wait to see what he and Icke come up with for this production.  All it needs is a strong ensemble cast, which it is well on the way to having wth Juliet Stevenson and Jessica Brown Findlay and this has the potential to challenge the RSC’s 2008 production as my favourite. Can you tell I’m excited?!

2. Angels In America (National Theatre, from 11th April)

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Ever since the National’s 50th anniversary celebration featured a scene from this play, I’ve been hoping it would return to the London stage and 2017 sees that happen. It’s such an iconic award-winning play, which made such an impact originally in the 90s and this revival promises to be very special with actors including Denise Gough, Andrew Garfield, James McArdle, Nathan Lane and Russell Tovey announced and directed by Marianne Elliot. Tickets will go quickly for this. You have been warned!

3. Don Juan In Soho (Wyndham’s Theatre, 17th March – 10th June)

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2017 also sees David Tennant return to the stage and this time it’s not Shakespeare. For me, he is one of the finest stage actors we have in the UK and I’m very excited to finally see him live on stage performing a non-Shakespeare role. Patrick Marber’s play is described as a savagely funny and filthy play, which has me intrigued to say the least! Directed by Marber and also starring the brilliant Adrian Scarborough, the only question for me is just how many times I’ll see this show over its run!

4. Hamilton (Victoria Palace Theatre, from November)

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The juggernaut that is Hamilton finally arrives in London late this year at the Victoria Palace (which is undergoing refurbishment in advance of becoming the hottest theatre spot in town). I have heard so much about this show, but have resisted the urge to listen to any music from it before I see it. With crazily expensive tickets for the New York run, hopefully the London production will be a little easier to get in to!

5. Who’s Afraid of Virginia Woolf? (Harold Pinter Theatre, 22nd February – 27th May)

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After her performances in Sweeney Todd in 2012 and Gypsy in 2015, I’d go and see the incredible Imelda Staunton in anything! Next on her list before Gypsy heads to Broadway is this production of Edward Albee’s play. Also starring Conleth Hill (now better known as Varys in Game of Thrones), this promises to be another gem in the 2017 calendar.

6. the ferryman (Royal Court Theatre, 24th April – 20th May)

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The Ferryman makes the list even though it is technically already sold out. This does not mean it should be ruled out however (I for one will be queuing as long as it takes for returns after failing to book this fast enough)! Jez Butterworth’s reputation for brilliant and exciting theatre was established with Jerusalem, but I also loved The River and I’m intrigued to see what is next. The production will also mark the Royal Court directorial debut of Sam Mendes.

7. Obsession (Barbican Theatre, 19th April – 20th May)

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This year also sees Ivo Van Hove, whose recent productions of A View From A Bridge and The Crucible both made quite an impression on anyone who saw them (including me) directing one of three Toneelgroep Amsterdam productions at the Barbican. Jude Law leads a cast of Dutch and British actors in Visconti’s drama where two people’s attraction to each other leads them to plot murder. This season as a whole is on my must-see list, but I’m rather intrigued by this one in particular.

8. The Goat, or Who Is Sylvia? (Theatre Royal Haymarket, 24th March – 24th June)

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Spring also sees two of Britain’s finest actors, Damian Lewis and Sophie Okonedo together on stage in Edward Albee’s The Goat, or Who is Sylvia? Described as a dark comedy, I am rather excited about seeing these two together and directed by Ian Rickson too!

9. Woyzeck (Old Vic, 6th May – 24th June)

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Woyzeck isn’t a play I’ve seen before and therefore I’m thrilled to be able to have a chance to tick this highly regarded piece of literature off my list. Set in 1980s Berlin, John Boyega (now of Star Wars fame) tackles the story of a young soldier on the border of East and West trying to build a better life for his family. This new version of Georg Buchner’s classic has been written by Jack Thorne, whose recent hits include This Is England for the screen and the Harry Potter play.

10. Speech & Debate (Trafalgar Studios, 22nd February – 1st April)

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Stephen Karam’s play The Humans was one I’d hoped to see next time I was in NYC (sadly I’ll miss it), but I will at least be able to see Speech & Debate when it arrives in London in February. Billed as the story of three misfits, brought together at school by a sex scandal, with hilarious consequences, I’m looking forward to seeing Douglas Booth and Tony Revolori (Zero in The Grand Budapest Hotel) tackle this play.

11. 42nd Street (Theatre Royal Drury Lane, 20th March – 22nd July)

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I can tick another classic musical off my list this year with the arrival of 42nd Street, the story of a young woman who, after joining the chorus line of a musical, may get her chance of stardom when the leading lady lady suffers an injury. Starring Sheena Easton as Dorothy Brock, this production will also be directed by Mark Bramble, the co-author of the original book of the production. I’ll be curious to see where this ranks in my list of musicals.

12. The Glass Menagerie (Duke of York’s Theatre, 26th January – 29th April)

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I’ve still yet to see The Glass Menagerie on stage and so I’m pleased this version of Tennessee Williams’s play is transferring from Broadway at the end of this month. Director John Tiffany’s (also director of Harry Potter & The Cursed Child) production was highly regarded in New York and will again star Cherry Jones as the matriarch Belle Amanda Wingfield.

13. Paul Auster’s City of Glass (Lyric Hammersmith, 20th April – 13th May)

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Regarded as a seminal American novel, I’m looking forward to a trip to the Lyric to see this new adaptation, which is billed as using ground-breaking stagecraft, projection, magic and illusion to tell the story of a reclusive crime writer who becomes drawn in to a thriller after receiving a call in the middle of the night from someone in need of a private detective.

14. Touch (Soho Theatre, 6th July – 26th August)

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I didn’t get to see Fleabag last year, but after the acclaim it received, as well as for the BBC series based on the play, I’m certainly adding Touch to my 2017 list, as it is by the same creative team. Starring Amy Morgan, it’s the story of a 33 year old woman trying to find her way in London.

15. Tribes (Crucible Studio, Sheffield, 30th June – 22nd July)

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I thoroughly enjoyed the original run of Nina Raines’s play at the Royal Court in 2010 and so I am looking forward to seeing this new regional premiere in Sheffield over the summer. The story of family life, where the son is deaf is very funny, but also incredibly moving and explores perfectly the desire we all have to be heard and understood.

 

 

16. Antony & Cleopatra (RSC, Royal Shakespeare Theatre, Stratford-Upon-Avon, 11th March – 7th September)

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I’ve always struggled a bit with this play, but I’ll certainly be heading to Stratford-Upon-Avon for this production, which will see one of my favourite RSC actors, Antony Byrne take on Marc Antony. Byrne was wonderful in the original Richard II in 2013 (and very much missed by me in its revival this year) and also in Henry IV and V and it’ll be fantastic to see him again performing Shakespeare.

17. Sex With Strangers (Hampstead Theatre, 27th January – 4th March)

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The Hampstead Theatre has certainly come a long way since Edward Hall took the helm in 2010 and I’m very much looking forward to seeing its first production of the new year. Laura Eason’s comedy sees two people, very much opposites of each other, stuck together in a B&B in the snow, who find themselves undeniably drawn to each other. I enjoyed Emilia Fox’s performance in Rapture, Blister, Burn at this theatre in 2015 and so it’ll be lovely to see her back, in a production that also stars Theo James.

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So, those are some of my suggestions for this year on stage. I could have picked so much more, with theatres including the Bush Theatre and the Young Vic already setting out exciting seasons. Then of course there are all the shows yet to be announced! Finally, there are some shows that opened last year, but which are well worth a trip if you can see them before they close. A few examples are:

  • Love’s Labour’s Lost & Much Ado About Nothing (Theatre Royal Haymarket) until 18th March – the London transfer of the RSC’s gorgeous double-bill is not to be missed. With a lot of the cast returning, including Edward Bennett and Sam Alexander, they are perfect at this time of year. Go, go, go!
  • This House (Garrick Theatre) until 25th February – This superb National Theatre production sees a new run in the West End. Set in the 70s as Labour cling on to power before Thatcher, it’s a brilliantly sharp and funny glimpse in to Westminster. Having seen the current cast in Chichester over the autumn, I can say it’s just as strong as it was originally. Review here.
  • Hedda Gabler (National Theatre) until 21st March – My review will be up laster this month for this exciting modernisation of Ibsen’s play. Ruth Wilson is yet again superb and there are also wonderful performances from Rafe Spall and Kyle Soller. This was so close to being in my top 10 of 2016, so I urge you to go. Yes, it’s sold out, but there is the option of Rush tickets on sale on Fridays for the following week’s shows and returns will pop up, so keep checking.
  • Mary Stuart (Almeida Theatre) until 21st January – One of my highlights of last year was this play which sees Lia Williams and Juliet Stevenson swap roles as Mary Stuart and Elizabeth I. It’s an exciting production from director Robert Icke and is another must-see. Again, it’s sold out, but there are day seats of every performance and I’ve usually been successful in the returns queue at this theatre in the past.

Hopefully there is something on the list that you are interested in. As always, I’ll be adding reviews of shows as I see them and so please do pop back any time!

 

 

2016 Theatre Review – My memorable theatre moments the year!

Having already chosen my top ten productions of the year and my favourite performances of the year, for my last 2016 theatre review post I wanted to look back on my most memorable moments at the theatre in the last twelve months. These are the moments that have stayed in my mind, whether a set, scene or personal experience while seeing a show.

The mind-bending set change at the end of Wild (Hampstead Theatre)

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I had heard so many people talk about the staging of Mike Bartlett’s Wild before I arrived at the Hampstead Theatre and that final set change was certainly a sight to be seen! Watching one set change in to another, much starker one was already impressive and then it started to rotate! I admit I was a little distracted from the actual scene itself. Top marks to the set designer and stage management team for this feat.

Watching the cast of Unreachable do all they could to make each other corpse during their final show (Royal Court)

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I’d hoped to see Unreachable twice, but had to miss my earlier trip, meaning my only visit was to the final show. Seeing the final performance seemed to heighten the hilarity, as a number of times the cast, particularly Jonjo O’Neil, were trying to throw their fellow cast members off. It was very very funny and one of the most fun trips I’ve had to the theatre.

My return to the wonderful world of Punchdrunk (Sleep No More, NYC)

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A Punchdrunk show is always an experience to remember and Sleep No More in NYC was no exception. From the first moments of making my way in to the venue in darkness, to exploring the eerie and intricate rooms and levels, where I sampled the sweets in the shop and leafed through the books on the shelves, right through to my own one-on-one experience with one of the cast, I had a great time. I only hope it’s still there on my next trip.

Genuinely feeling as though someone was behind me blowing in my ear at The Encounter (Barbican)

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From immersive theatre to sensory theatre with my trip to Simon McBurney’s one-man show The Encounter. Using special technology (including the head in the photo), he was able to transport us in to the rainforests of Brazil. The moment he had us close our eyes and then created the effect that someone really was behind my right ear, blowing on it, was astonishing. The possibilities for audience interaction in future shows is very exciting indeed if such experiences can now be created.

The magical illusions in Harry Potter & The Cursed Child (Palace)

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The most eagerly awaited show on the planet was just as much fun as I’d hoped (and I’m not even a huge Potter fan) and one of the biggest thrills of the theatre year for me was seeing the illusions achieved in this production. I especially loved the entrance to the Ministry of Magic. The cast must be on skates or something  backstage to get from one part of the stage to another so fast! A treat for young and old alike.

Watching Glenn Close in Sunset Boulevard from the centre of the front row (London Coliseum)

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Glenn Close as Norma Desmond was a performance I’d been looking forward to since it was announced and on seeing it, I just had to go back for a second time. I’m still amazed that this wasn’t a total sell out, but the fact that a week before, I was able to buy a front row ticket was unbelievable. Having Close stand so close to me and deliver that performance was a real thrill for me in 2016.

 

Saying goodbye to War Horse and Groundhog Day at their final London performances (New London and Old Vic)

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I was lucky enough to be at the final London performances of both War Horse at the New London Theatre and Groundhog Day at the Old Vic in 2016. The first show was closing after over nine years, during which it has delighted and moved so many audiences and it was lovely to hear author Michael Morpurgo’s words of thanks to its cast and crew. On the other hand, we’d barely had Groundhog Day in theatreland before it was off to prepare for Broadway. I loved the show (it’s my favourite of 2016) and being able to say a fond farewell to it, from the front row no less, was a joy.

Experiencing the enthusiasm of New York audiences for Shakespeare during the RSC’s King and Country tour (BAM, NYC)

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This year also saw my first trip to NYC since 2012 and it was filled with a great deal of wonderful theatre. However, one of the things that truly stood out was during my time at the BAM Harvey Theatre in Brooklyn, where the RSC was showcasing its King and Country cycle. Having seen it in both Stratford-Upon-Avon and London, I was surprised to experience the plays in a new environment. Antony Sher has talked about how the New York audiences were more enthusiastic and I agree with him. There was a new kind of excitement in the venue and lines received an audience response they hadn’t in the UK, which in turn had an effect on the actors. From chatting to other audience members, many had read the plays before coming and had a genuine enthusiasm for the plays. It was wonderful to be a part of it.

Being given a reminder of how precious time and life is by Gavin Plimsole (Greenwich Theatre)

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One of the new theatres I visited during 2016 was the Greenwich Theatre and I was rather moved by its show The Inevitable Heartbreak of Gavin Plimsole. As we journey through the last part of Gavin’s life, depicted by marbles dropping through a chute after a certain number of heartbeats, the audience was reminded of how precious life is and how we should not take it for granted. At the end of the show, we each opened a box. Mine had a marble in it for me to keep. I have kept it in my handbag ever since. Sometimes it is the smallest shows that make the biggest impression.

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There were so many special moments for me in theatres this year, but those are the ten that have stayed with me the most as I sit here and reflect on the last twelve months. Next I’ll be looking ahead to the productions I’m most excited about in 2017, which I hope to post very soon. If you have some moments that have stood out for you, let me know about them in the comments!

 

 

How to Find Cheap London Theatre Tickets in 2016

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As a regular and enthusiastic theatregoer, I’m often asked by friends how I can afford it, to which I explain that, despite the rising prices for big West End shows, not all theatre in London is extortionate, especially if you know where to look and are open to visiting a wider variety of venues.

Last year, I shared a few tips, some obvious, some less so, as to how to secure tickets at a cheaper price and with the new year upon us and budgets tight after Christmas, it seemed the perfect time to revisit this topic. Most of these options require some effort, whether that’s getting up early to queue or setting a diary reminder to jump on a website the moment seats are released, but others are offers that may be available to you due to where you live or your age. Hopefully some of these tips will highlight that great seats at reasonable prices are possible and that you shouldn’t let the fact a show is sold out put you off, as nothing is ever really “sold out”.

1. Theatre-specific schemes

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Many theatres have ticket schemes, which offer a cheaper price band of seats for certain productions, which are often still very good seats in terms of view. It’s always worth checking their website in advance to become familiar with such schemes and when tickets are due to go on sale. Some of the best schemes currently are set out below. Click on the links for more details.

National Theatre Travelex Scheme – this scheme is a fantastic aspect of the National Theatre, offering £15 tickets for certain productions throughout the year. In order to secure these tickets, the best tip is to book quickly as once public booking opens for each new National season these seats go fast.

National Theatre £20 Friday “Rush” – Every Friday at 1 p.m., some tickets for the following week’s productions go on sale online for £20. These are proving very popular, so set your reminders to make sure you don’t miss out.

Royal Court £10 Mondays – all tickets for Mondays of every show go on sale on the day for £10. Again, you need to be quick, so set yourself a reminder.

Southwark Playhouse Pay As You Go scheme – For £60 paid in advance, you can buy a subscription to the Southwark Playhouse, effectively giving credit which can be used to buy five tickets. There is no expiry once you’ve paid your £60, so you can buy the five tickets over as long or short a period as you choose (only two can be used at a time for one performance though). It’s a great scheme, so have a look at their website for details.

Donmar Barclays Front Row – This is one of the toughest, as tickets go very very quickly. Tickets are released each Monday, for performances two weeks later, offering the front row for only £10.

Old Vic PwC £10 Preview Scheme – Under this scheme, half of all seats are priced at £10 for the first five previews of each production. These go on sale five weeks in advance are are brilliant value for money.

The Trafalgar Transformed seasons from Jamie Lloyd have an offer for reduced price tickets on Mondays. The next show The Maids will also have a £15 Mondays scheme. Purchase details have yet to be announced. Keep an eye on the website here.

The Park Theatre at Finsbury Park has a Pay What You Can Afford scheme on certain days (usually all matinees) to allow people to make a donation instead of paying the standard ticket prices.

The Young Vic tends to offer a season saver, whereby if you buy three shows in the season at full price, you’ll get a discount (currently 20%). A great deal if you intend to see most of the theatre’s season.

The Bush Theatre also offers a season saver – book 3 shows at top price in one go and only pay for two!

2. Day Seats or Lotteries

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Day seats are one of the most widely used and easiest ways to get cheaper tickets for bigger, more expensive shows if you are prepared to put the effort in. This basically means getting up early and joining a queue! Day seat policies vary from theatre to theatre and even show to show at a theatre, but are always great value as they tend to offer good seats, sometimes even the front row, for a cheaper price. Admittedly, the higher the stage, the more uncomfortable this front row could be, but if prices are inflated, it’s often the most accessible option. You can call up the box office of the theatre to check what it’s day seat policy is and how early the queue is generally starting. A great resource is the Theatremonkey website, which tries to give as much up to date day seat information as possible. One further tip for day seats is to take cash, as some don’t accept debt/credit cards.

Lotteries are less common in the UK, but are still run for certain shows, such as The Book of Mormon, which runs an online lottery for its day seats. Check with the theatre or the website of the show you are interested in.

3. Age-related Discounts

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Many theatres have reduced price tickets for certain age groups, which are great value while you qualify for them. Don’t make my mistake and leave it too late to take advantage of these! Examples are:

  • Almeida – under 30s can buy tickets for £19 on Mondays only.
  • National Theatre – Those 16 – 25 can buy £5 tickets through the Entry Pass scheme. You need to sign up to the scheme in advance.
  • RSC – Those 16 – 25 can buy £5 tickets through the RSC Key scheme. A bargain to see such great Shakespeare!
  • Young Barbican – discounted tickets available for 14-25 year olds across all its events.
  • Tricycle Theatre – TRIKE scheme offers £10 theatre tickets for those under 26.
  • Young Vic – £10 tickets for under 25s.

Check a theatre’s website for details of their scheme and what you need to do to take advantage of it, as you may have to register first, bring proof of age on collection etc.

4. Resident discounts

Certain theatres offer discounts for residents within their community. The Bush (in Shepherd’s Bush) via the Bush Local scheme and the Lyric (in Hammersmith) are both examples of theatres which give some form of discount for certain performances to locals. Enquire at your local theatre for information and availability and what proof of address is required.

5. Previews

A good proportion of theatres sell preview performances at cheaper prices, to take account of the fact that the show is still under development. Don’t let this put you off though, as it usually merely means tweaks rather than substantive changes, which can be interesting if you plan on seeing something again later in the run and can then see what the changes were.

6. NT Live / the RSC’s Live from Stratford-Upon-Avon filming nights

These days more and more shows are being filmed for cinema screenings. Generally, these performances result in discounted prices for the audience in the theatre that evening, due to the possibility of a camera restricting your view at certain points. It also gives another perspective on a theatre production to watch it live as it is being filmed. I saw last year’s National Theatre Man & Superman on NT:Live filming night, enjoying a £50 seat for £29. Of course, these recordings also offer the opportunity for many more people to watch a performance from their local cinema for the price of a cinema ticket which is fantastic. Details of NT:Live here and the RSC’s Live from Stratford-Upon-Avon here.

7. Seat filling websites 

Theatre seats at the London Coliseum

Both The Audience Club and Play By Play UK are examples of companies which assist producers with filling seats, whether during early previews to get people talking or if a show is doing less well. The Audience Club membership starts with a £4 donation to Marie Curie and requires you to see 12 shows in the first year to qualify for the next level of membership (with access to larger shows). Play By Play costs £75 a year to join, which gives you access to their full range. Fees then payable on each ticket range from £2-£3. Crucially you must respect the discretion policy of both companies and if attending a show via either company, keep this to yourself within the venue and on social media both beforehand and afterwards. Both require you to email your interest in joining and you will then be contacted when room is available for new members. As a member of both schemes I definitely find them a wonderful additional resource for obtaining tickets and have made back the cost of my PBP fee in the last year.

8. Restricted view options

All theatres sell certain seats at cheaper rates due to their positioning causing a restricted view. The more you try, the more you get to know which are actually not that restricted at all. This often results in a bargain. Examples being slim pillars in your view, which often don’t block too much and are fine if you go as a pair and can lean more to one side if you know the person next to you or even swap with each other halfway! Check sites like Theatremonkey for opinions of views from seats as provided by regular theatregoers. Twitter is also great for seat tips, as well as the Theatre Forum (registration needed to access the forum).

9. Get In To London Theatre

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Another wonderful scheme aimed at getting people to go to the theatre is the brilliant Get In To London Theatre scheme. I’ve been raving about this to friends over the last few weeks and there is still time to take advantage of the scheme for 2016. Get In To London Theatre offers cheaper seats to lots of London plays and musicals across January and early February. Tickets range from between £10-£40 and are particularly good value for the big musicals.

10. TKTS booth / in person at box office

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The TKTS booth in Leicester Square is the official discount-selling booth, which offers some fantastic offers on discounted tickets for shows. This is especially useful if you are looking for tickets at the last minute. Another saving is to book at the box office in person if you can. This way you can avoid the booking fees added to online sales.

 11. Mobile phone ticket apps

Mobile phone apps are starting to offer theatre ticket opportunities. The best for deals so far is TodayTix. This free mobile app (until last year only offering Broadway deals) now offers discounted London tickets for last minute theatre trips, or trips within that week to a variety of shows. Some productions are running their ticket lotteries through it, such as the Kenneth Branagh season at the Garrick, which offer £15 lottery seats via the app, which you can enter as many days as you like.

12. Recordings of Theatre Productions

Digital Theatre

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Another recent development is the growth of filmed productions being made available online for purchase as rentals or purchases to keep forever. This is mainly thanks to the brilliant Digital Theatre, which currently offers some brilliant shows. These include the wonderful Private Lives starring Anna Chanellor and Toby Stephens, Much Ado About Nothing with David Tennant and Catherine Tate and The Crucible starring Richard Armitage. Prices are very reasonable (around £4 rental, £9 SD purchase and £11 HD purchase).

Archives

For older shows, there may be the possibility of watching a recording within a theatre archive. The best examples are the National Theatre’s own archive, housed at The Cut (next to the Old Vic) and the V&A Performance Archive (housed at Blythe House in Kensington Olympia). Both of these archives are free of charge but subject to making a request in advance (usually 2-3 weeks). On arrival, you put on headphones and watch the recording on a screen. You won’t be able to take food and drink in to the room and may only use pencils to make notes and of course filming on your phone or other device is not permitted.

1These recordings are a wonderful way to see productions from years ago or more recent ones you’ve missed. I have a very long list of productions I need to see in the archives! Why not search their online catalogues to see what may be of interest to you.

DVDs

Some theatre companies are now releasing recordings on DVD, so you may even be able to purchase them to watch from the comfort of your home. Shakespeare’s Globe has been doing this for a while, but the RSC is now also releasing certain productions on DVD.

13. Sold out shows?

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The other big question I am often asked is how do you get tickets for a “sold out” show. The fact is no show is ever really sold out. The simplest ways to obtain such tickets are either via Day Seats or Returns on the day.

Returns are something non-regular theatregoers tend not to know about. Tickets always say non-refundable right? Well, if you have a ticket bought from the theatre / show’s official website and can no longer attend, if that show is popular or sold out, you may be able to offer it for returns. Anyone at the theatre hoping for a ticket, will then but the ticket from the theatre, who will then credit your card.

Returns won’t be discounted, as you are offered whatever tickets have been returned to the box office. It’s never guaranteed, but I’ve never failed yet in a returns queue and that includes at small venues such as the Donmar. I’d recommend getting there around 3 hours before the show starts to join the queue, although for popular shows it may need to be much earlier than that. Some theatre simply take your name and say to come back at a certain time, at which any returns go to those waiting in order of the names on the list.

I’d add to this, if you have tickets you can no longer use, offer them back to the box office for returns. If a show is sold out then the theatre is usually willing to accept them, on the understanding that there is no guarantee of your money back. You lose nothing more by trying and it may mean someone else gets to fill the seat.

……………….

So if there’s something you really want to see, but think it’s too expensive or sold out, look in to some of these options and maybe you’ll be able to go after all!

Theatre Review – Hangmen by Martin McDonagh at the Wyndham’s Theatre

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Having missed this Royal Court production during its original run earlier this autumn, I was very pleased to get a second chance at its new West End home, the Wyndham’s Theatre.

Martin McDonagh’s first new UK play in ten years certainly didn’t disappoint, providing, as one would expect from him, a darkly comical and disturbing evening’s entertainment, this time on the subject of the acceptability of the notion of killing people as a punishment for killing people. In 2015, the idea of capital punishment in the UK is one that seems alien to most of us, but only 50 years ago it was the accepted punishment and so-called deterrent for such crimes. Through McDonagh’s play we are given an insight not in to the criminals, but those whose job it was to carry out their final sentence. What type of person would do such a job and what effect would that perhaps have on their attitude to violence?

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Hangmen at work: Andy Nyman & David Morrissey

 

 

 

 

 

 

 

 

We begin by witnessing the hanging of a young man, terrified and strongly protesting his innocence. Hamgman Harry Wade (David Morrissey) (inspired by real life hangman Harry Allen) has heard it all before many times and has a job to do, one he clearly takes great pride in. Indeed he is offended when his ability is questioned and compared to his greatest rival Pierrepoint, now retired, but in whose shadow Wade remains. Via a truly brilliant set change, the play fast forwards two years to 1965 and more specifically the day on which hanging is abolished in the UK.

The landlord of his own Oldham pub as well as a hangman, Harry is surrounded by his regulars, who clearly view him as a type of celebrity, morbidly fascinated by his tales of death, as someone who has legally killed over 200 people. In to the bar walks a mysterious young man, Peter Mooney, whose motives are unclear, but whose manner gives a sense of a possible darker reason for his arrival, which may have repercussions for this Oldham group.

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The cast of Hangmen

Hangmen is terrific. First and foremost, the script is brilliant as McDonagh’s characters and the world we find them in effortlessly switches from quick-witted comedy to a much darker black humour, making you feel slightly uncomfortable at times. The dialogue is razor sharp and there are some genuinely superb exchanges and one-liners. His other skill is conceiving a play during which you are never quite sure where it’s going. Just when you think you know, something shifts, as the play twists and turns around who Mooney is and why he has appeared in Harry’s pub. There are also some wonderful visual descriptions through the dialogue, which you can picture in your mind – for example, I’ll never think about a box of Weetabix again without remembering this play!

It’s a very effective way of approaching the topic of capital punishment, brutality and what society perceives as suitable justice, as well as highlighting in a darkly funny way, how our perceptions of someone or something may not always be correct.

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Bronwyn James & Johnny Flynn

 

 

 

 

 

 

It is fantastically brought to life by its cast (most of whom have transferred with it from Sloane Square). David Morrissey is on fine form as Harry, regarded to his annoyance as the second greatest hangman after his rival Pierrepoint. His arrogant, overly confident and often offensive attitude is evident from the start. He did a job, which until that day was seen as one of a servant of the justice system and he is proud of his contribution to delivering justice. He is also a man who isn’t quite ready to let go of the power, authority and status his role provided and so uses his position amongst the pub regulars to maintain his self-importance. It’s only on the arrival of Mooney that we see someone not impressed or intimidated by him and the power starts to shift.

There are fine supporting performances by all, but especially from Andy Nyman as Harry’s former assistant Syd, who clearly felt humiliated by Harry over the years, Simon Rouse as the half-deaf pub regular and Bronwyn James as Harry’s shy daughter Shirley. To say this is her stage debut, she is very good and will be someone I’ll look out for in the future. Then there is John Hodgkinson as Pierrepoint, the greatest hangman and his effect on Harry is amusing to see.

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Johnny Flynn as Mooney

However, the stand-out performance in Hangmen is that of Johnny Flynn, whose stage career continues to grow following successes such as Jerusalem and Twelfth Night, both alongside Mark Rylance. As the mysterious southern stranger Mooney he is at the heart of the play as much as Harry is. From the moment he appears he has your attention. There is just something about him that makes you feel uneasy and that unease only continues to grow as the play reaches the second half. Flynn’s skill is making Mooney a fully-formed character and one you can never quite work out. Charming, witty, polite, while also conveying a darker, more disturbing edge (he’d describe it as “quietly menacing”), he is incredibly entertaining to watch. It’s a performance that stays with you and should certainly receive recognition next awards season.

The other star is Anna Fleischle’s set, which is one of the best I’ve seen this year. The initial change from prison cell to pub interior is impressive in its execution and the mood and atmosphere are enhanced by the realism of the setting before you. The use of the multi-level space in places is also very clever.

Hangmen is a superb achievement and continues McDonagh’s style of using black humour to tackle uncomfortable issues (I’m still chilled by The Pillowman when I think of it now!). It may not be a topic that you would immediately think you’d want to see a play about, but the quality of the writing and acting here make this one I cannot recommend highly enough.

Hangmen continues its run at the Wyndam’s Theatre until 5th March 2016. For more information, visit the Delfont Mackintosh website here or the Royal Court website here.

 

Theatre Tips – How to Find Cheap Theatre Tickets and Access “Sold Out” Shows

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As a regular and enthusiastic theatregoer, I’m often asked by friends how I can afford it, to which I explain that, despite the rising prices for big West End shows (the latest attention focussed on the forthcoming musical of Elf, with its exorbitant prices), not all theatre in London is extortionate, especially if you know where to look.

I therefore thought it may be useful to share some tips, some obvious, some less so, as to how to secure tickets at a cheaper price. Most of these options require some effort, whether that’s getting up early to queue or setting a diary reminder to jump on a website the moment seats are released. However, if you can take the time and are keen enough to see something, then hopefully some of these suggestions will prove helpful.

1. Theatre specific schemes

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Many theatre have ticket schemes, which offer a cheaper level of seats for certain productions. It’s always worth checking their website in advance to become familiar with such schemes and when tickets are due to go on sale. Some of the best schemes are:

  • National Theatre Travelex scheme – the scheme is a fantastic aspect of the National Theatre, offering £15 tickets for certain productions throughout the year. What I love about this scheme is that the seats are fantastic, with the first four rows of the Olivier and Lyttelton available as an example. In order to secure these tickets, the best tip is to book quickly as once public booking opens for each new National season these seats go fast.
  • Royal Court £10 Mondays – all tickets for Mondays of every show go on sale on the day for £10, half online and half in person at the box office. Again, you need to be quick, so set yourself a reminder.
  • Southwark Playhouse Pay As You Go Scheme – For £50 paid in advance, you can buy a subscription to the Southwark Playhouse, giving you five tickets. There is no expiry, so you can use the five over as long or short a period as you choose (only two can be used at a time for one performance though). It’s a great scheme, so have a look at their website for details.
  • Donmar Barclays Front Row – This is one of the toughest, as tickets go very very quickly. Each Monday tickets go on sale for the following week’s performances at 10 a.m., offering the front row for only £10.
  • The Trafalgar Transformed seasons from Jamie Lloyd release all Mondays for each month on the 2nd day of each month for £10. If he returns for a third season, it’s almost certain this scheme will return as well.
  • The Park Theatre at Finsbury Park has a Pay What You Can Afford scheme on certain days (usually all matinees) to allow people to make a donation instead of paying the standard ticket price.
  • The Young Vic tends to offer a season saver, whereby if you buy three shows in the season at full price, you’ll get a discount. A brilliant deal if you intend to see most of the theatre’s season.
  • The Bush Theatre also offers a season saver – book 3 shows at top price in one go and only pay for two!

2. Day Seats

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Day seats are one of the most widely used and easiest ways to get cheaper tickets for bigger, more expensive shows, if you are prepared to put the effort in. This basically means getting up early and joining a queue! Day seat policies vary from theatre to theatre and even show to show at a theatre, but are always great value as they tend to offer good seats, sometimes front row even, for a cheaper price. Admittedly, the higher the stage, the more uncomfortable this front row could be, but if prices are inflated, it’s often the most accessible option. You can call up the box office of the theatre to check what it’s day seat policy is and how early the queue is starting. A current example of a popular day seat queue is the Barbican Hamlet with Benedict Cumberbatch (30 tickets at £10 each day). A great resource is the Theatremonkey website, which tries to give as much up to date day seat information as possible.

3. Age discounts

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Many theatres have reduced price tickets for certain age groups, which are great value while you qualify for them. Examples are:

  • Old Vic – under 25s can enjoy £12 tickets for all performances.
  • Almeida – under 30s can buy tickets for £19 on Mondays only.
  • National Theatre – Those 16 – 25 can buy £5 tickets through the Entry Pass scheme. You need to sign up to the scheme in advance.
  • RSC – Those 16 – 25 can buy £5 tickets through the RSC Key scheme.
  • Young Barbican – discounted tickets available for 16-25 year olds across all its events.
  • Tricycle Theatre – TRIKE scheme offers £10 theatre tickets for those under 26.
  • Young Vic – £10 tickets for under 25s.

Check a theatre’s website for details of their scheme and what you need to do to take advantage of it, as you may have to register first.

4. Resident discounts

Certain theatres offer discounts for residents within their community. The Bush (in Shepherd’s Bush) via the Bush Local scheme and the Lyric (in Hammersmith) are both examples of theatres which give some form of discount to locals. Enquire at your local theatre for information and availability.

5. Previews

A good proportion of theatres sell preview performances at cheaper prices, to take account of the fact that the show is still under development. Don’t let this put you off though, as it usually merely means tweaks rather than substantive changes, which can be interesting if you plan on seeing something again later in the run and can then see what the changes were.

6. NT Live / the RSC’s Live from Stratford-Upon-Avon filming nights

National-Theatre

These days more and more shows are being filmed for cinema screenings. Generally, these performances result in discounted prices for the audience in the theatre that evening, due to the possibility of a camera restricting your view at points. It also gives another perspective on a theatre production to watch it live as it is being filmed. I saw the recent National Theatre Man & Superman on NT:Live filming night, enjoying a £50 seat for £29. Of course, these recordings also offer the opportunity for many more people to watch a performance from their local cinema for the price of a cinema ticket. Details of NT:Live here and the RSC’s Live from Stratford-Upon-Avon here.

7. Seat filling websites

Theatre seats at the London Coliseum

Both The Audience Club and Play By Play UK are examples of companies which assist producers with filling seats, whether during early previews to get people talking or if a show is doing less well. The Audience Club membership starts with a £4 donation to Marie Curie and requires you to see 12 shows in the first year to qualify for the next level of membership (with access to larger shows). Play By Play costs £75 a year to join, which gives you access to their full range. Fees then payable on each ticket range from £2-£3. Crucially you must respect the discretion policy of both companies and if attending a show via either company, keep this to yourself within the venue and on social media both beforehand and afterwards. Both require you to email your interest in joining and you will then be contacted when room is available for new members.

8. Restricted view options

All theatres sell certain seats at cheaper rates due to their positioning causing a restricted view. The more you try, the more you get to know which are actually not that restricted at all, which in some cases results in a bargain. Examples being slim pillars in your view, which often don’t block too much and are fine if you go as a pair and can lean more to one side if you know the person next to you! Check sites like Theatremonkey for opinions of views from seats. Twitter is also great for seat tips, as well as the Theatre Forum (registration needed to access the forum).

9. TKTS booth / in person at box office

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The TKTS booth in Leicester Square is the official discount-selling booth, which offers some fantastic offers on discounted tickets for shows. This is especially useful if you are looking for tickets at the last minute. Another saving is to book at the box office in person if you can. This way you can avoid the booking fees added to online sales.

10. Digital Theatre

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Another recent development is the growth of filmed productions being made available online for purchase as rentals or purchases to keep forever. This is mainly thanks to the brilliant Digital Theatre, which currently offers some brilliant shows. These include the wonderful Private Lives starring Anna Chanellor and Toby Stephens, Much Ado About Nothing with David Tennant and Catherine Tate and The Crucible starring Richard Armitage. Prices are very reasonable (around £4 rental, £9 SD purchase and £11 HD purchase).

Sold out shows?

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The other big question I am often asked is how do you get tickets for a “sold out” show. The simplest ways are  either via Day Seats or Returns on the day.

Returns won’t be discounted, as you are offered whatever tickets have been returned to the box office, but if someone can’t attend a show or some of their party can’t, then hopefully they will return their tickets on arrival at the theatre. Anyone waiting in the returns queue will then be offered those tickets at face value. It’s never guaranteed, but I’ve never failed yet in a returns queue and that includes at small venues such as the Donmar. I’d recommend getting there around 3 hours before the show starts to join the queue, although for popular shows it may need to be much earlier than that.

I’d add to this, if you have tickets you can no longer use, offer them back to the box office for returns. Yes, your tickets are non-refundable, but if a show is sold out then the theatre is usually willing to accept them, on the understanding that there is no guarantee of your money back. Chances are a sold out show will have a day seat queue hoping for such tickets to be put up for resale. You lose nothing more by trying and it may mean someone else gets to fill the seat.

So if there’s something you really want to see, but think it’s too expensive or sold out, look in to some of these options and maybe you’ll be able to go after all!

Theatre Review – The Nether at the Duke of York’s Theatre

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I’d heard quite a lot about The Nether during its initial Royal Court run and so I was intrigued to see it for myself after it transferred to the West End. It is certainly a play that will be on my mind for quite a while due to its thought-provoking and indeed disturbing subject matter.

Jennifer Haley’s play, directed by Jeremy Herrin, is set in the not too distant future of 2050, where reality is not the only option for living – the growth of virtual reality realms has resulted in jobs, education and recreation heavily existing online. People log in to “The Nether” and can then spend hours in another world. Some are even choosing to “cross over”, effectively staying there forever with their bodies on life support.

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Mr Wingnut (Ivanno Jeremiah) s greeted by Papa (Stanley Townsend) in The Hideaway. Photo by Johan Persson

Within this setting, a police detective Morris (Amanda Hale) is separately questioning two men in a sterile office. One she suspects is “Papa”, the creator of a realm in The Nether called The Hideaway, in which those who have darker, disturbing predilections towards children can be themselves and act these out with other adult participants, some of whom take the online form of a child in the realm, without consequence. The other man, Doyle (David Calder), is someone she hopes can provide information to prove her case against Papa.

Between these two sets of interrogation scenes we learn more about The Nether and are transported in to The Hideaway realm itself, experiencing it alongside a new visitor Mr Wingnut (Ivanno Jeremiah), which forces us to ask ourselves some very tough questions – will the real world be better and, more importantly safer, if such realms online are shut down, as Morris wants, or would this simply result in potential predators roaming the actual streets, when otherwise they could release their behaviour elsewhere. A remark by Papa that he’s never in the real world long enough to pay attention to, for example, his neighbour’s kids is very chilling. The idea of The Hideaway is indeed repulsive, however the thought of these people suddenly having to spend every hour of the day in the real world is incredibly terrifying.

Iris (Perdita Hibbins) & Papa (Stanley Townsend) in the Hideaway. Photo by Johan Persson
Iris (Perdita Hibbins) & Papa (Stanley Townsend) in the Hideaway. Photo by Johan Persson

The acting of the small cast is very good indeed, particularly Stanley Townsend as “Papa” and Perdita Hibbins who played the young girl in the Hideaway, Iris, at my performance, whose acting for someone so young was very impressive. I did wonder just how much of the play’s overall subject matter she had been made aware of and you cannot help but feel a deep sense of unease during some of her scenes. This may be a virtual reality realm being depicted, but it feels frighteningly real and uncomfortable as it unfolds.

The set design is also utterly superb and unlike anything else I have ever seen on stage. Together set designer Es Devlin and video designer Luke Halls have brilliantly created a design which allows the audience to absolutely feel the sense of entering the virtual world when The Hideaway scenes occur, through the use of computer graphics and a series of very clever projections in between the set changes, which very much bring the virtual world to life before the audience’s eyes. It’s also incredibly effective that The Hideaway is such a beautiful place – a pretty house, luxurious furnishings, glorious garden – it’s a place you prefer to the stark interview room and it makes the disturbing behaviours acted out in such a place all the more powerful and disturbing.

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Morris (Amanda Hale) questions Doyle (David Calder) about The Hideaway. Photo by Johan Persson

In an age where online content is growing ever more interactive and sensory, this is a hard-hitting topic to think about, but one which no longer seems totally impossible. Technological advances could very well mean something similar to The Nether could be the future one day and this gives the play added power. This is certainly not an easy play to watch, however it forces us to ask hard questions about the world we live in now and could potentially live in in the future and achieves this in an incredibly inventive and imaginative way.

The Nether continues its run at the Duke of York’s Theatre until 25th April 2015. More information and ticket availability can be found on the production’s website.