Nick Ahad

3 weeks ago | whatsonstage.com | Nick Ahad

ReviewsKate Wasserberg’s revival of Jonathan Larson’s semi-autobiographical musical is the first production in the newly reopened Welsh venue Usually, a review of a show opening with lyrical waxing about the building in which the show sits is not a good sign. In this case, the shouting from the rooftops about the rooftops – and the rest of the building beneath them – is justified but shouldn’t be taken as a reflection on the quality of the work on stage.

1 month ago | theguardian.com | Nick Ahad

This play by Nathan Powell, appointed creative director at Liverpool Everyman and Playhouse last year after Suba Das’s departure, is not a tightly structured, slick affair. But, directed by Amanda Huxtable, it is enormous fun, full of heart and undeniably entertaining. If this first play is a measure of his ambition, Powell intends to be a crowd-pleaser. Takeaway wouldn’t be out of place in the unabashedly popular Royal Court across town.

2 months ago | yorkshirepost.co.uk | Nick Ahad

Why is an Oscar winner with one of the most storied movie careers of any British actor of the past fifty years taking to the stage at York Theatre Royal in Samuel Beckett’s Krapp’s Last Tape? The 18th century theatre is a beautiful venue, but it only holds 750 people. Oldman’s movies have grossed over a billion dollars at the box office. The ‘why’ of it is persistent. Why has it taken 40 years for him to return to the stage? Why here? Why this play? It turns out for Oldman, it’s personal.

Sep 28, 2024 | msn.com | Nick Ahad

Microsoft Cares About Your PrivacyMicrosoft and our third-party vendors use cookies to store and access information such as unique IDs to deliver, maintain and improve our services and ads. If you agree, MSN and Microsoft Bing will personalise the content and ads that you see. You can select ‘I Accept’ to consent to these uses or click on ‘Manage preferences’ to review your options and exercise your right to object to Legitimate Interest where used.

Sep 28, 2024 | theguardian.com | Nick Ahad

Perhaps the best thing to do with a play that is approaching its 150th birthday and still earning a place on contemporary stages is simply to get out of the way. Unless you have a Jamie Lloyd-style take and Jessica Chastain on speed dial, there probably isn’t a good enough reason to add bells and whistles to Ibsen’s A Doll’s House.