Theatre789 entries
In the Republic of Happiness
Opens: 06/12/2012 Closes: 19/01/2013
Royal Court Theatre, London
His last play at the Court was 2008's The City. Martin Crimp's new piece, directed by Dominic Cooke, contains the former's usual blend of satire, violence and destructive relationships – but still counts as seasonal programming. We are let in on a family Christmas, marked by the unexpected arrival of a mysterious Uncle.
For more information visit: http://www.royalcourttheatre.com/whats-on/in-the-republic-of-happiness Buy: http://www.royalcourttheatre.com/whats-on/in-the-republic-of-happiness/?tab=1 Watch:Page [1]
80 %
Exeunt“Meaning isn’t fixed; it is embodied, represented and subverted...” It explores a unique psychological territory with dramatic flair and effective if somewhat heavy-handed humour...
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100%
Whatsonstage.com“Funny, sexy, witty and rude...” Crimp goes so far as to call it “an entertainment in three parts,” and it rocks along like a dystopian vaudeville conceived in an unlikely alliance of Alan Ayckbourn, Harold Pinter and Caryl Churchill...
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60%
The Observer“Cooke's sleek production has moments of inventive staging...” Dementia and dictatorship are in the air, but who will feel threatened by such carefully mannered dialogue? Despite the intermittent vehemence of its laments, this is a tepid attack. Still, there is nothing pale about the performances...
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80 %
The Independent“The ultimate antidote to mindless festive cheer...” "In a manner reminiscent of Crimp's earlier play Attempts on her Life, these unthinking cliches of the contemporary mentality are hilariously deconstructed in the middle section, subtitled “The Five Essential Freedoms of the Individual"..."
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100%
The Stage“The perfect antidote to a Christmas show...” "Although Crimp’s political points are perfectly clear, this is also - in Cooke’s lively and vivid production - a highly entertaining evening, with wonderful songs brilliantly set to pop music by Roald Van Oosten..."
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100%
The Arts Desk“A truly wonderful experience...” "It feels like we are witnessing a major playwright’s most imaginative work — at one heady moment, I felt that all theatre should be like this. And I wanted it to go on for ever..."
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60%
Evening Standard“This is a spiky provocation that is also deviously poetic...” "It’s as if an Alan Ayckbourn play has been swallowed by a Caryl Churchill play and then swallowed again, this time by a Sarah Kane play. Along the way there’s more than just a nod to Dante..."
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