Review – Home, I’m Darling, National Theatre

Tricky.

How do you discuss Home, I’m Darling without giving away a key reveal? Well those who reviewed Tamara Harvey’s production when it was at Theatre Clwyd gave it away willy-nilly, but then it is mightily hard to talk of it without doing so. Fortunately we saved reading those reviews until after we’d seen it.

Statistically, of course, most readers won’t ever get to see it anyway so why should one care so much? Despite this, however, we will still endeavour to give away as little away as possible. Which means this will be a faster read for you and you can move on to better things.

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Review – The Exorcist, Phoenix Theatre

“This production contains material which may shock and offend” boasts The Exorcist. Here’s 10 reasons why you may be shocked or offended but perhaps not in the way that’s intended:

Review – Hangmen, Royal Court

Phil had an uncle whose job as a prison governor meant he was called on to witness some of the last hangings in this country. He also kept the autobiography of Britain’s most ‘celebrated’ hangman, Albert Pierrepoint, on his bookcase and Phil is led to believe, visited the pub that Pierrepoint ran after retiring from execution.

As a child, Phil looked on most of this with a mix of macabre fascination and horror, which was much the same reaction that he had to the first scene in Martin McDonagh‘s, Hangmen.

Review – Behind the Beautiful Forevers / John, National Theatre

Misery time at the National.

Just think, you could go and see a matinee of Behind the Beautiful Forevers and John in the evening and come out feeling thoroughly depressed. For that would be the better way round; the latter is shorter than the former’s Act 1.

Review – Before the Party, Almeida Theatre

Here’s a puzzler to confound, should you happen to find yourself at a party surrounded by theatrically persuaded people: What is the connection between Before the Party and the film Chitty Chitty Bang Bang?

Give up? Well, the latter wouldn’t be quite the same without the formers’s writer. Academy Award nominee, Hitchcock collaborator and BTP playwright Rodney Ackland is also credited with discovering Chitty star Sally Anne Howes. That’s if you believe the Gospel according to St Wiki. We do. Who would think to make that up?

But his 1949 play (based on a short story by W. Somerset Maugham) is a bit of a puzzler itself. Part family drama, part melodrama,  part satire, part comedy and – in this production – bearing absurdist overtones and (rather redundantly)  animation. It’s as if Ackland were delving into the darker recesses of Terrance Rattigan’s psyche and percolating it through a wafer thin filter of Joe Orton.