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Tag Archives: Daniel Flynn

A Little Night Music- Storyhouse, Chester

Music and Lyrics: Stephen Sondheim Book: Hugh Wheeler Director: Alex Clifton Reviewer: Matt Forrest Since opening last year, Chester’s Storyhouse is gaining quite the reputation for staging some unique and spell-binding productions. It is such a treat to witness this gorgeous new theatre thrive. As part of the spring season, they are once again adding to the growing repertoire by ...

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The Father – The HOUSE, Birmingham REP

Kenneth Cranham and Amanda Drew

Writer: Florian Zeller, translated by Christopher Hampton Director: James Macdonald Reviewer: Selwyn Knight   Only 35, Florian Zeller has written a number of novels and plays and has been produced all over Europe. But he is rather less well-known on this side of the channel, something translator Christopher Hampton and co-producers Theatre Royal, Bath and Tricycle Theatre are seeking to ...

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The Father – Theatre Royal, Brighton

Kenneth Cranham and Amanda Drew

Writer: Florian Zeller Translator: Christopher Hampton Director: James Macdonald Reviewer: Michael Hootman On paper Florian Zeller’s play sounds dull, worthy, and perhaps a little depressing: over the course of ninety minutes we see a man slowly lose his mind to dementia. It’s testament to the strength of the writing, and Kenneth Cranham’s truly heroic performance, that The Father is an ...

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The Father – Richmond Theatre, London

Kenneth Cranham and Amanda Drew

Writer: Florian Zeller Translation: Christopher Hampton Director: James Macdonald Reviewer: Deborah Klayman   André is eighty years old, has two daughters, and lives in his own flat in Paris. Or does he? An intelligent, elegant and deeply moving play about the reality of living with dementia, Florian Zeller’s The Father allows the audience to stand on the same shifting sands ...

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Bracken Moor – Tricycle Theatre, London

Writer: Alexi Kaye Campbell Director: Polly Teale Reviewer: Stephen Bates [rating:5] It takes considerable boldness for a modern playwright to set a play in 1937, adhering to the conventions of an era from which so many classics already exist. In this context, how could a voice from the present speak louder than one from the past? And what reason could ...

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