BEGINNING opens at the National Theatre
Read More On: Paul Arditti
BEGINNING is written by David Eldridge and directed by Polly Findlay, and has Sound Designs by MLR's Paul Arditti.
The Telegraph ★★★★★
"One of the funniest, touching, most excruciating plays of seduction"
"It’s a beaut, end of."
Evening Standard ★★★★★
“the autumn’s must-see hit”
“the tentative (anti) romance for 21st century London life and it is, quite simply, magnificent.”
“honest, funny and good-hearted”
“incredibly funny but sometimes so truthful…almost too painful to watch”
The Guardian ★★★★
"movingly reminds us that, even in the age of social media and internet dating, forging a connection with other people remains as problematic as ever"
"a play that leaves you caring deeply about its characters and which adds unusual poignancy to the dating game"
The Stage ★★★★
“Though often very funny, the play is strung with emotional tripwires – lines that send you sprawling”
“Tender, funny and resonant”
Broadway World ★★★★
“A gentle gem of a play”
“hilarious and quietly heart-breaking”
Amy Mae shortlisted for the 2018 Arts Foundation Awards
Read More On: Amy Mae
MLR's Amy Mae has been shortlisted for a 25th Anniversary Arts Foundation Award!
To mark each year the Foundation has been supporting individual creative practice, 25 artists have been shortlisted. Five will be selected to receive the £10,000 fellowship with the runners up each receiving £1,000.
The winners will be announced at a special party on the 1st February. Best of luck to Amy!
NYT’s OTHELLO & JEKYLL AND HYDE open at the Ambassadors Theatre
Roy Alexander Weise is director on JECKYLL AND HYDE, and Amy Mae is Lighting Designer on both shows. They run in the West End until 6th December.
Reviews for JEKYLL & HYDE...
What's On Stage ★★★★
"All is deftly overseen by director Roy Alexander Weise, who jumps between the various narratives with ease. The use of movement is particularly effective"
Broadway World ★★★★
“Roy Alexander Weise's direction takes risks, and he isn't afraid to keep in the many expletives for the school performance.”
“moments of genius”
London Theatre 1 ★★★★
“pushing the audience to face and consider more current inequalities.”
“Two very wordy pieces of theatre were executed with precision and a quality that would challenge many professional productions I have seen.”
“As with Othello the night before, the lighting design and set design was extremely impressive.”
“Congratulations to both Laura Hopkins (Set Design) and Amy Mae (Lighting Design) for again reminding us that attention to detail in these areas can really enhance”
“the production was absolutely brilliant.”
Reviews for OTHELLO...
London Theatre 1 ★★★★★
“every so often, there is a reworking and a re-imagining that brings the 400-year-old dialogue to life. This is one of those times.”
“Amy Mae’s lighting design added immensely to the feel of the production, I felt like I was experiencing temperature changes brought about by mood change on stage – and that was largely due to the lighting which was stunning.”
Frances Poet’s THE MACBETHS opens at the Citizen’s Theatre
Read More On: Frances Poet
Her new adaptation of Shakespeare’s MACBETH, drastically cut to focus on the murderous couple’s relationship, is directed by Dominic Hill, and plays in Glasgow until the 14th October.
The Herald Scotland
“Using a carefully cut version of the text, this two-hander, created by Dominic Hill (director) and Frances Poet (dramaturg), is assiduously modern. Imagine a version of Tracey Emin's famous 1998 artwork My Bed hosting, not the solipsistic detritus of a supposedly dissolute youth, but a powerful, human drama of loss, ambition and, above all, desire.”
“this is Shakespeare's play delivered in powerfully concentrated form, as if straight into the bloodstream.”
“In this adaptation, Shakespeare’s monologues become private confessions, night-time contemplations exchanged between husband and wife.”
“for this new vision of Shakespeare’s Macbeth, co-created with dramaturg Frances Poet, he turns to the most intimate kind of studio theatre, and to a brief 70-minute version of the text played out around the sweaty darkness of the bed where the Macbeths make love, and conjure up hatred and horror, in equal measure.”
“ends with a profound sense of human tragedy and waste that is often absent from larger and more lavish productions; and offers a rich evening of theatre for anyone who loves Macbeth, and also loves to see it reborn, in ever more challenging forms.”
Tim Jackson is Choreographer on MERRILY WE ROLL ALONG at Huntington Theatre
Read More On: Tim Jackson
Maria Friedman’s Olivier Award winning London production of Sondheim’s musical is recreated in Boston, running until the 15th October.
The New York Times
“Tim Jackson’s effortlessly integrated choreography”
“this portrait of the slippery road to success in mid-20th-century Manhattan has never seemed more emotionally resonant, or more gratifyingly fulfilled.”
“authentic enough to keep its audience bathed in tears”
“Friedman is aided by choreographer Tim Jackson, who swiftly commands a 21-member ensemble.”
“this production projects the traumas and the joys of growing up and attaining wisdom — no matter the cost— and elevates it into the rarefied circle of Sondheim's most memorable works.”
“brings urgency to the universal questions this musical, with its exceptionally complicated history, asks about ambition, loyalty, and what gets left behind on our journeys through life and career.”
“The lighting design by Philip S. Rosenberg is as seamless as Tim Jackson’s choreography.”
“this outstanding production proves that this show is very much Sondheim being Sondheim — and that is pretty damn good.”
“unfolds with a charisma that disarms, and then utterly delights.”
“Everything in this production comes together, from Soutra Gilmour’s crisp scenic and costume design, Tim Jackson’s simple choreography (especially his brilliant use of the party crowds) and Matthew Stern’s high-energy, 10-piece orchestra.”