"Old-fashioned" is most often a derogatory term, but it can also mean traditionally well-crafted. That's definitely the case with "Versailles," Peter Gill's highly articulate, leisurely yet absorbing…
Making enthralling theater out of one of Shakespeare's best-known titles is one thing. It's an achievement of an altogether higher order to take the austerely forbidding "Coriolanus" — an…
Surprisingly cumbersome switches between designer Scott Pask's office and courtroom locations are an unintentional metaphor for the problem beneath "The Same Deep Water As Me." Nick Payne -- who…
There's barely a writer alive who is the best possible director of his or her own work: An outside eye can spot the dramatic and structural flaws the writer cannot or will not see. "The Night Alive,"…
LONDON -- Heading a slew of London casting news, Ciaran Hinds, now playing Big Daddy in Gotham's current production of "Cat on a Hot Tin Roof," and Jim Norton, recently in the Rialto revival of…
Helmer Joe Wright's self-consciously artificial film take on "Anna Karenina" was proof of his taste for the theatrical. So it's unsurprising that, for his stage helming debut, he has chosen "Trelawny…
Alfred Molina's volcanic incarnation of painter Mark Rothko is reason enough to rush to the Taper for John Logan's "Red," to say nothing of the involving text and visual audacity of helmer Michael…
Excuse me, but isn't that a real live hen? Threatening to upstage everyone with an off-beat cluck, it really is a cheery hen tucked beneath the arm of country wench Rose (Aimee-Ffion Edwards).
An 18th century English comedy, a neglected British drama and a new version of a 1960s Euro classic will make up the inaugural Donmar Warehouse season under incoming a.d. Josie Rourke.
Kate Pakenham, producer at London's Old Vic theater, has been appointed exec producer at the Donmar Warehouse.
Domestic Film DAILY
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