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Best of 2018: London theatre
by MARY CONWAY
JAMES CROSSLEY applauds a lucid biography of the German radical preacher who reemerged as a hero in the GDR
Prizes all round: the Bard hands plaudits to the Miners Gala, OT&JC, Joe Solo, Black Sabbath’s frontman and the Lionesses
Star cartoonist JAMIE BRITTON is in awe of a graphic novel of epic proportions that explores class, religion and globalisation via the strange cultivation of Ginseng in the US Midwest
GUILLERMO THOMAS is intrigued by a history of the Middle East that demonstrates how promising post colonial beginnings were snuffed out by Western imperialist interests
MARIA DUARTE recommends the intricate study of a high-performance and highly dysfuntional German family
THE BRAINCHILD of Jamie Lloyd, the ongoing Pinter at the Pinter season at the Harold Pinter Theatre commemorates the playwright’s death 10 years ago with seven different compilations of his one-act plays and monologues. Packed with actors at the top of their game, it's a theatrefest to make the heart sing.
Uncomfortably true: A Very Very Very Dark Matter (Pic: Manuel Harlan)
Not only does it showcase Pinter’s range through comedy, anger and political satire to the poignantly personal, raw, violent and prescient, it is also a landmark in the history of theatre craft — a seismic shift from linear narrative to the kind of drama where the fragile construct of words often disguises real character complexity.
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MARY CONWAY revels in the Irish American language and dense melancholy of O’Neill’s last and little-known play
MARY CONWAY recommends a play that some will find more discursive than eventful but one in which the characters glow
