Lyn’s weekly picks
Every week, Lyn will be sharing her recommendations on the Stagedoor app. Sometimes these will feature shows on the West End. Sometimes they’ll be on the Fringe. They’ll always be exciting.
Lyn’s recommendations will be joined by longer, thematic articles commenting on the latest trends in how theatre is being made – and what we’re making theatre about.
So, what are you waiting for?
Follow Lyn on the Stagedoor app.
Follow Lyn on the Stagedoor app.
Articles by Lyn Gardner
Success, lies and videotapes
A woman dressed like Princess Diana on her wedding day sits at a table covered in a Union Jack and eats.
Approaching Empty at the Kiln
Ishy Din's latest play is set in a Northern mini-cab office in the wake of Margaret Thatcher's death.
When aspects of love are unpalatable
The 20th century musical is one of the most under-rated art forms, as if its commercial successes and the fact that audiences love it inevitably means that it's artistic creditability is sapped.
Making new writing more Pleasance
I've always thought it was odd that The Pleasance is such a major player in Edinburgh every fringe, but that its London venue never feels like a significant pin on the theatrical map.
War of the Worlds: the truth about myth-making:
We all know the story of Orson Welles' 1938 radio broadcast of The War of the Worlds which, with its convincing simulated news bulletins, spread mass panic across the US leaving millions believing that America was being invaded by aliens. Right? Actually, no.
A few random thoughts about Pinter Five and Six
I felt slightly doubtful about seeing five Pinter plays—albeit some of them short—in a single day. I reckon that a little Pinter often goes a long way.
VAULT Festival 2019: the lowdown on Weeks 6-8.
Here's the final part of my pre-festival guide, featuring the VAULT Festival shows that have caught my eye from weeks 6, 7 & 8.
Times they are a changing
History and experience tell us that the world shifts on its axis. Regimes crumble, industries disappear, jobs are lost, people die, power is lost or gained, and the regular monthly pay-check suddenly stops coming. The warning signs may be there but we refuse to heed them.
VAULT Festival 2019: the lowdown on Weeks 2-5
Continuing from last week’s article, here’s my guide to VAULT Festival from weeks 2 to 5. This is a mix of shows I've seen before and enjoyed – and new shows that have caught my eye.
VAULT Festival 2019: the lowdown on Week 1
VAULT Festival begins later this month, and I’m going to be trying to cover as much as I can of the eight-week festival which gives a London platform (albeit a subterranean one) to both emerging and established artists from the UK and abroad.
It’s all child’s play
If you were to ask me about the great theatre companies of the last 30 years, I’d say that one of the very greatest has been Oily Cart.
The welts left behind
“The past is a foreign country: they do things differently there,” begins LP Hartley’s 1953 novel, The Go Between. But as Hartley’s anti-hero discovers we carry the past with us. There is no escaping it.
The Tell-Tale Heart: the eyes have it
That Anthony Neilson is a sly one. Smart too. His latest piece, the Tell-Tale Heart at the National Theatre’s Dorfman space, takes Edgar Allan Poe’s creepy 1843 story of madness and murder and gives it a contemporary spin.
Camden People’s Theatre: rackety and radical
London is bursting to the brim with theatre from the West End to the NT on the South Bank to the boutique venues such as the Donmar to the Almeida.
In Natasha Gordon’s Nine Night at Trafalgar Studios, Gloria is dead. She came to England on the Windrush, leaving behind her first-born daughter Trudy in Jamaica. Now her clan is gathering for nine days of mourning at her home.
10 things I love about Orpheus at Battersea Arts Centre
1. Like Emma Rice’s Wise Children, Little Bulb’s show within a show is a celebration of theatre itself in all its gaudy down-at-heel red velvet glory and tawdry illusions.
Look back in anger
Ellie Kendrick’s Hole at the Royal Court Upstairs operates like an all- female cosmic cabaret, and one whose rocket fuel is rage.
I came late to The Inheritance at the Duke of York’s, only catching up with it on World Aids Day.
Losing the path, finding yourself
In Sondheim’s Into the Woods, Red Riding Hood tells the Baker that her mother has warned her never to stray from the path. To which he quite rightly points out that it’s already too late because “the path has strayed from you.”
Artful autobiographies: It's my life and I'll lie if I want to.
“Nothing I have said is factual except the bits that sound like fiction,” declared Clive James in his Unreliable Memoirs.
The kids are not alright
We can tell from the fact that 4.5 million children live below the breadline, up by a million in less than a decade.
Rendezvous in Bratislava: reclaiming the past
History is too serious to be left to the historians. Particularly personal histories. But it is these individual stories, the ones that never make it to the history books, which shed the greatest light. Yet so often they remain hidden from view.
Hadestown: Definitely not a love story
The National has always had better luck with musicals the more off-beat they have been.
New Diorama: inventing the future
The value of a theatre lies not just in the work it does for itself — effectively, the shows that the team have a yen to produce — but in what it does for everybody else.
It’s grim and getting grimmer
The Doomsday Clock stands at two minutes to midnight. Scientists have warned that we have 12 years to avert climate change disaster. But still we sleepwalk towards catastrophe, taking no responsibility. We assume, like children, that the grown-ups—the scientists and the policy-makers—will save us.
All the dead voices: how are we remembering the Great War 100 years on?
In Beckett’s Waiting for Godot, Estragon and Vladimir talk about “all the dead voices” which they hear. The dead, they say, make a noise like wings, like leaves, like sand.
Babies on stage: we shouldn’t coo, but we do.
How often do you see a pregnant woman on stage?
Young Vic 2019: plenty to get excited for
As Rufus Norris has discovered at the National Theatre, taking over as Artistic Director from a regime that has been seen as a huge success is not always a bowl of cherries. Mostly what audiences and critics want is more of the same.
Why I joined Stagedoor
Some claim that theatre criticism is in crisis but I reckon it is simply changing in response to the disruptions of recent years.
Ducking the truth
"One of the beauties of Icke’s production is its ability to continually deceive and then flaunt the truth in front of us"