American auds might expect they're in for a lovely tale about rural life and cycling. But they're in for a shock from Penelope Skinner's new comedy: The subject, you see, is sex. Lots and lots of sex.
The story of an American hustler in London attempts to channel the city's multicultural vibrancy in a bawdy, energetic form that emulates his historical model.
To a contempo American sensibility, this revival of Simon Gray's 1971 play is a mixed bag.
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On evidence of Trevor Nunn's uber-reverent production, it's not just the two central characters in Tom Stoppard's 1967 career-launching play that occupy a strange theatrical limbo, the play itself…
The cloud that billows out into the audience at the opening of Philip Prowse's staging of Shaw's classic is probably dry ice, but it could just as easily be dust: This production is sadly old-school.
Britain doesn't share a currency with the rest of Europe, nor -- as this starry Euro-coproduction proves -- does it share much of a theater aesthetic with it either.
Thanks to writer Naomi Wallace's delicate touch and generous imagination, her ingeniously structured new play unfolds into a story of love whose unexpected emotional power sideswipes the audience.
An extraordinary and diverse array of talents, ideas and resources has been poured into this full-length story ballet with music and lyrics by pop legends Pet Shop Boys.
'Mogadishu' is intended as an expose of racial tension in a London school, but feels overwritten and overplayed.
The play's central theme: how the effects of one irrational action can change lives forever.