Is there a Shakespearean play more obsessed with privacy and surveillance than Hamlet? This is, after all, a story about a prince who stages an
An Actor Prepares. This is the name of the textbook written by the father of acting technique, Konstantin Stanislavski. The director who transformed the original
You’d be forgiven for thinking that a play about Brexit – before Article 50 has even been triggered – is over-egging the pudding. More gnarling,
Two nights in a row at the Metropolitan Opera in New York is as self indulgent as ordering a Sundae at Dairy Queen – and
In the years following Watergate and the Vietnam war, watching the news was not Paddy Chayefsky’s idea of fun. The playwright and screenwriter concluded that
A week may be a long time in politics, but 40 years, it would seem, is nothing at all. In 2012, during the heart of
Tootsie director Sydney Pollack once said: “Dustin [Hoffman] feels that directors and actors are biological enemies, the way the mongoose and the cobra are enemies.”
What kind of playwright writes a play in four acts before his nineteenth birthday? The same one who quit the theatre 18 years later on
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