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Sunday, November 24, 2019

Tue Biering’s “Land Without Dreams” at the Gate Theatre by Mert Dilek

What’s the use of thinking about the future? What’s the use of thinking about the future in a theatre? Created by the Copenhagen-based theatre company Fix&Foxy, Tue Biering’s one-w…

SOURCE: thetheatretimes.com at 12:33AM
Friday, November 8, 2019

The House of the Spirits review at Cervantes Theatre, London – ‘sensuous rendering of Isabel Allende’s epic novel’ by Mert Dilek

Isabel Allende’s 1982 novel The House of the Spirits is not an easy work to bring to the stage. An ambitious family

SOURCE: The Stage Registration at 12:35PM
Thursday, November 7, 2019

Samuel Bailey’s “Shook” at Southwark Playhouse by Mert Dilek

The winner of the 2019 Papatango New Writing Prize, Shook by Samuel Bailey offers a glimpse into an unexpected corner of the criminal justice system. It is set in a classroom, but not in a s…

SOURCE: thetheatretimes.com at 07:47PM

Shadows review at the Coronet, London – ‘tedious meditation on old age’ by Mert Dilek

Performed in Norwegian with English surtitles, Jon Fosse’s play Shadows has a conceptual premise that depends on a disjuncture between the actor

SOURCE: The Stage Registration at 09:47AM
Tuesday, November 5, 2019

The Match Box review at Omnibus Theatre, London – ‘a towering solo performance’ by Mert Dilek

Grief can be a blinding experience, but it can also give clarity of sight. This is what happens to Sal, the bereaving

SOURCE: The Stage Registration at 10:37AM
Friday, November 1, 2019

Chemistry review at Finborough Theatre, London – ‘a moving, insightful love story’ by Mert Dilek

She suffers from chronic depression; he from unipolar mania. She cannot get out of bed; he cannot stay put. She thinks mental

SOURCE: The Stage Registration at 08:59AM
Thursday, October 10, 2019

Mites review at Tristan Bates Theatre, London – ‘stylistically shifting and glib’ by Mert Dilek

James Mannion’s new play Mites is a shape-shifter. It begins on an absurdist register but gradually disrobes itself, shifting towards what it

SOURCE: The Stage Registration at 09:51AM
Tuesday, September 24, 2019

Youth Without God review at the Coronet Theatre, London – ‘engaging adaptation of Nazi Germany story’ by Mert Dilek

One could do worse than turn to a classroom to find the microcosm of a society. Christopher Hampton’s stage adaptation of Ödön

SOURCE: The Stage Registration at 06:35AM
Thursday, August 29, 2019

My One True Friend review at Tristan Bates Theatre, London – ‘vibrant but meandering’ by Mert Dilek

Rhodesia, 1978. Two visits coincide on the premises of Lady L’s estate: Gordon and Oonagh have arrived to celebrate their mother’s 60th

SOURCE: The Stage Registration at 11:57AM
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