Showing posts sorted by relevance for query Peter McKintosh. Sort by date Show all posts
Showing posts sorted by relevance for query Peter McKintosh. Sort by date Show all posts
Saturday, 17 February 2018
The York Realist, Donmar Warehouse | Review
The York Realist
Donmar Warehouse
Reviewed on Wednesday 14th February 2018 by Olivia Mitchell
★★★★
Peter Gill's 2001 play is a beautifully moving and genuinely funny look at same-sex love. This glorious revival by Robert Hastie is natural and manages to say more in 130 minutes than many plays say in 3 hours. Nothing is force fed or overdramatic but by the end we genuinely care for the characters and believe what they're going through.
The York Realist is about an assistant director who's putting on an amateur production of the mystery plays. Ben Batt plays George who's starring in the play but hasn't been attending rehearsals so John (Jonathan Bailey) the young, well-spoken London director visits George's Yorkshire farmhouse to persuade him to return to rehearsals. There he meets George's family and the two form a relationship. This is a show all about detail; it's explores a gay relationship of course but there's an equal amount of exploration about class, family, identity and grief. It looks at the feeling of identity in terms of where you live and were brought up, with Gill's writing having it's own identity with it's glorious portrayal of Yorkshire and the community there.
The family kitchen feels truly authentic as we meet George's mother, sister, brother-in-law, nephew and family friend. The conversation flows and the intimacy of the Donmar Warehouse allows us to appreciate every moment and enjoy this understated piece of theatre.
Ben Batt is outstanding as the calm, buff Yorkshireman who struggles to leave his home and comforts behind; he manages to be strong but sensitive and gives a truly heart-warming performance. Jonathan Bailey is an extraordinary delight who perfectly gives off the big-city vibe without ever being over the top or annoying to watch. Both actors show off their vulnerabilities to devise an intricate, touching world.
The snug Donmar Warehouse transformed by Peter McKintosh's delightful cottage set provide a perfectly evocative setting. The detailed kitchen set is the perfect home for the cast of seven who seem as though they've spent their entire childhoods drinking tea in there.
This is a glorious show which creeps up on you slowly, naturally and beautifully. I couldn't think of a better way to spend 130 minutes.
photo credit: Johan Persson
Thursday, 9 October 2025
National Theatre Announces Exciting 2026 Season with New Productions in London and New York
The National Theatre has unveiled further details about its 2026 season, marking a bold next chapter in the vision of Co-Chief Executives Indhu Rubasingham and Kate Varah to make world-class theatre accessible to audiences everywhere.
Deputy Artistic Director Robert Hastie will lead two major productions in spring 2026. In London, he directs Nina Raine and Moses Raine’s new adaptation of Maxim Gorky’s Summerfolk in the Olivier Theatre, a sharp, satirical look at class and complacency. Across the Atlantic, Hastie’s acclaimed production of Hamlet will transfer to BAM (Brooklyn Academy of Music), the first show in a new partnership that will see National Theatre productions transfer to BAM’s Harvey Theater and National Theatre Live screenings hosted at BAM’s Rose Cinemas.
Alongside performances, the National Theatre’s Learning team will collaborate with BAM on its (Re) Centering Theater) programme, giving Brooklyn students the opportunity to create, develop, and perform new work inspired by Hamlet. A free exhibition at BAM’s Rudin Family Gallery will also explore the legacy of Hamlet at both BAM and the National Theatre.
This collaboration with BAM and The Shed strengthens the National Theatre’s long-standing relationship with the US, celebrating 60 years of international productions. Further details about upcoming projects with The Shed will be announced soon.
“It feels deeply fitting to bring Hamlet to BAM next spring, especially as we mark 60 years of staging productions in the US”
said Indhu Rubasingham, Director and Co-Chief Executive of the National Theatre.
Kate Varah, Executive Director and Co-Chief Executive, added:
“Our goal is simple yet bold- to make world-class theatre accessible to everyone, everywhere. Through new partnerships with BAM, The Shed, and the Educational Theatre Association, we’re reaching thousands of schools and streaming our productions into homes across the US. This is theatre without borders.”
National Theatre 2026 Productions
Olivier Theatre: Summerfolk
From 6 March to 29 April 2026, Robert Hastie directs a fresh adaptation of Maxim Gorky’s Summerfolk by Nina Raine (Consent) and Moses Raine (Donkey Heart). Set in 1905 Russia, it follows a group of privileged friends whose summer of indulgence masks a looming storm of social change. The creative team includes Peter McKintosh (set and costume), Paul Pyant (lighting), and Nicola T. Chang (composer).
Lyttelton Theatre: Les Liaisons Dangereuses
From 21 March to 6 June 2026, Marianne Elliott (Angels in America) returns to direct a powerful new revival of Christopher Hampton’s adaptation of Pierre Choderlos de Laclos’ classic novel. The cast includes Lesley Manville, Aidan Turner, Monica Barbaro, and Gabrielle Drake, in a dazzling exploration of love, manipulation, and power.
Dorfman Theatre: Man and Boy
From 30 January to 14 March 2026, Anthony Lau (The Crucible) makes his National Theatre debut with Terence Rattigan’s Man and Boy, starring Ben Daniels and Laurie Kynaston. Set in 1930s New York, this gripping tale of ambition and betrayal follows a financier facing ruin during the Great Depression.
Dorfman Theatre: The Authenticator
From 26 March to 9 May 2026, award-winning writer Winsome Pinnock (Leave Taking) reunites with director Miranda Cromwell (Death of a Salesman) for The Authenticator, a gothic psychological thriller starring Rakie Ayola, Sylvestra Le Touzel, and Cherrelle Skeete. Set in a mysterious country estate, it explores buried secrets, artistic legacy, and truth’s dark corners.
Brooklyn Academy of Music (BAM), New York: Hamlet
From 19 April to 17 May 2026, Hiran Abeysekera (Life of Pi) reprises his role as Hamlet in Robert Hastie’s acclaimed production at BAM’s Harvey Theater. This bold interpretation of Shakespeare’s timeless tragedy launches the National Theatre’s new partnership with BAM, bringing British theatre excellence to New York audiences.
Tickets for all 2026 National Theatre productions go on general sale from 23 October 2025.
National Theatre 2026 season, National Theatre productions, National Theatre London, National Theatre New York, BAM Hamlet, Robert Hastie Hamlet, Nina Raine Summerfolk, Les Liaisons Dangereuses National Theatre, Marianne Elliott, Winsome Pinnock The Authenticator, Ben Daniels Man and Boy, Hiran Abeysekera Hamlet, Indhu Rubasingham, Kate Varah, National Theatre BAM partnership, British theatre in New York, National Theatre tickets, Olivier Theatre, Lyttelton Theatre, Dorfman Theatre, London theatre 2026
Saturday, 6 August 2022
South Pacific, Sadler's Wells | Review
South Pacific
Sadlers Wells
Reviewed on Friday 5th August 2022
★★★
First performed at Chichester Festival Theatre in 2021, Rodgers and Hammerstein's soaring South Pacific is back for a 2022 summer season at Sadler's Wells Theatre.
It has been over seventy years since the release of the original production which covers a number of issues such as class, race and gender, and this revival is visually and vocally beautiful but doesn't quite hit the right note for a contemporary audience.
Rodgers and Hammerstein's score is a delight to hear, with so many of musical theatre's most popular tunes popping up, including I'm Gonna Wash That Man Right Outta My Hair and the stunning Some Enchanted Evening. The full orchestra alongside the outstanding cast, namely: Julian Ovenden as Emile De Becque, Gina Beck as Ensign Nellie Forbush, and Rob Houchen as Lt. Joseph Cable, do a stellar job of bringing the score to life and showcasing the sounds of the Golden Age of musical theatre.
It's the plot which features some troubling moments that don't quite sit right for a 21st century audience. Whilst this production does handle aspects well, for example by making a real moment of You've Got To Be Carefully Taught (which was a progressive song for its time) the overarching elements of racism are extremely strong, as is the Westernised view placed on everything. Of course, this is a piece of its time and should be viewed as such and there are aspects which are very much still relevant for today's audiences but the strong negative undertones did detract from what is otherwise a thrillingly giddy romance.
However, aside from plot, this is a visually as well as vocally stunning show. Peter McKintosh's set perfectly transports us to the various spaces of the island and the mystical Bali Ha'i. The cavernous space of Sadler's Wells Theatre is used to the shows advantage and has some real wow moments, especially during act two.
Whilst there are flaws with South Pacific there's no denying that it's a lush show with a number of glorious aspects. For fans of classic musical theatre this should definitely be on the list, as well as those who want to indulge in the fantastically sweeping voices of the top notch cast.
Tickets for South Pacific can be purchased via https://www.londonboxoffice.co.uk/
Thursday, 29 June 2017
The Wind in the Willows, London Palladium | Review
The Wind in the Willows
London Palladium
Reviewed on Thursday June 29th 2017 by Olivia Mitchell
★★★★
The Wind in the Willows is a perfectly fun, family show. It's not a theatrical masterpiece but it's a cute, heartwarming fable that's sweet enough for both children and adults to enjoy.
Adapted by Julian Fellowes (Downton Abbey) with music and lyrics by George Stiles and Anthony Drewe (Half a Sixpence), The Wind in the Willows is an old school tale given a modern twist. We follow Ratty and his new friend Mole as they venture around the countryside trying to hide from the evil of the Wild Wood and help their friend Mr. Toad curve his need for speed. It's a show which is quintessentially British:lazing by the river, watching the swallows returning home for summer, seeing animals foraging in the woods, each scene conjures up the good old English countryside.
The pastoral feel of the production is guided by the sets and costumes by Peter McKintosh, with each area and animal having its own unique "style" and each set piece combining perfectly to create the world of human-like animals which is both distinctive and mystical. Each animal is instantly recognisable without being too in your face animal. The set also strikes a good balance between being enough of a spectacle whilst still leaving enough room for your imagination to roam a little wild.
Simon Lipkin's Ratty is suitably funny and stern and despite not being a huge belting role, he really shows off his voice and beautiful tone. Craig Mather has wonderful chemistry with Lipkin as Ratty's partner in crime, Mole. He is the perfect mix of innocence and strength and is pretty perfect in the role. Another sweet and funny character is Mrs Otter played by Denise Welch although we never do find out what happened to her husband! Thankfully some contrast to the sweetness is brought with the baddie of the show, Chief Weasel played by Neill McDermott who is very reminiscent of Rooster in Annie. The Weasel scenes are my personal favourites and add a nice sharpness to the otherwise same level show. The ensemble are tight and bring a lot to the show. An audience favourite seemed to be the adorable hedgehog family who sing a lovely little ditty about the trouble of crossing the road.
Aletta Collins' choreography fits exactly, adding not only dimension but humour to the show. Especially so with the tap dancing horse!
Of course I have to mention Mr Toad played by Rufus Hound who is great in the role. He is over the top and dramatic but actually very good. I was surprised at how good his voice is and really do think he's the perfect choice for the role.
The Wind in the Willows is good family fun which is certain to leave a smile on your face and at least one song in your head. It's simple, charming and exactly what it says on the tin, what more could you ask for for a family theatre trip?
The Wind in the Willows runs at the London Palladium until September 9th
Friday, 24 October 2025
Full Cast Revealed for When We Are Married at Donmar Warehouse, London Theatre
The Donmar Warehouse has revealed the full cast for its upcoming revival of J.B. Priestley’s much-loved comedy, When We Are Married. Directed by Tim Sheader, the production opens on 17 December with previews from 6 December, promising an evening of laughter, farce, and heartfelt revelations.
Joining the previously announced Siobhan Finneran, Samantha Spiro, Sophie Thompson, and Marc Wootton are Tori Allen-Martin, Ron Cook, Janice Connolly, John Hodgkinson, Jim Howick, Reuben Joseph, Rowan Robinson, and Leo Wringer. The stellar ensemble brings together some of London theatre’s finest performers, ensuring a dynamic revival of Priestley’s classic play.
Set in Yorkshire, When We Are Married follows three couples celebrating their joint silver wedding anniversaries. What begins as a glittering evening of champagne and ceremony turns into a farcical exploration of long-buried secrets, simmering resentments, and the possibility of new beginnings. The play’s timeless humour and sharp social commentary continue to captivate audiences, making it a perfect addition to London’s vibrant theatre scene this festive season.
Artistic Director Tim Sheader leads a creative team including set designer Peter McKintosh, costume designer Anna Fleischle, lighting designer Ryan Day, and composer Will Stuart. The Donmar Warehouse’s reputation for inventive productions and intimate staging promises a memorable experience for theatre-goers.
For musical theatre enthusiasts and fans of London theatre alike, this revival blends comedy, heart, and brilliant performances, making it one of the must-see productions of the winter season.
Monday, 5 December 2022
Orlando, Garrick Theatre | Review
Orlando
Garrick Theatre
Reviewed on Monday 5th December 2022
★★★★
Thought to be inspired by Virginia Woolf's romance with Vita Sackville-West, Orlando depicts a boisterous protagonist whose journey spans five centuries and two genders. Its awareness of gender politics and expectations as well as the way is defies them is really something special, and it's astounding that Woolf wrote such a groundbreaking piece of work in 1928 and that it remains so relevant now.
Tilda Swinton famously took on the role in the 1992 film adaptation but it's the superb Emma Corrin who plays the title character in Neil Bartlett's production. As a non-binary performer, Corrin feels like the perfect fit for this gender fluid role and they do an outstanding job of bringing Orlando to life with wit and momentum. At 90 minutes, it's impressive how much range Corrin is able to show and as a whole, the production manages to really pack a punch.
Michael Grandage's intelligent direction gives the show a real buoyancy. The ensemble help to create the story as it goes and the narration is spread around to give a continual movement. This adaptation also sees Corrin's Orlando assisted by Deborah Findlay's Mrs Grimsditch who maintains the pace whilst adding comical insights on the predicaments faced throughout. Much of the script is mischievous and sharp, and there are also some really brilliant homages to other literary and theatrical moments, including a particularly witty nod to Cabaret. Despite not being full of content, Bartlett's adaptation does a good job of keeping the audience engaged and showcasing what's there to its fullest extent. The overall idea of personal identity and growth is key throughout.
Peter McKintosh's set design is superbly effective in demonstrating the various eras of Orlando's life, without being at all over the top or gimmicky. The use of banners, beds and boats is extremely well done and cleverly combined lighting choices (Howard Hudson) and projections not only help emphasise the plot and script, but also add an almost fairy-tale like feel to the whole piece.
That line between childlike dreams and theatrical astonishment is truly the heart of this play and it allows the audience to ponder some pretty deep topics, whilst also feeling swept along in the magic and mystery of it all. It may not be quite as groundbreaking as in 1928 but this is definitely a show that's been revived at the right time, with a stellar cast to boot!
photo credit: Marc Brenner
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