Louis Train

Louis Train Graduate student and writer from Toronto, Canada.


MOST POPULAR ARTICLES
LAST 30 DAYS

BWW Review: THE AMERICAN CLOCK, Old VicBWW Review: THE AMERICAN CLOCK, Old Vic
Posted: Feb. 14, 2019


BWW Interview: Movement Director Shelley Maxwell Talks EQUUSMovement Director Shelley Maxwell Talks EQUUS
Posted: Feb. 12, 2019


BWW Review: THE GOOD PERSON OF SZECHWAN, Barbican CentreBWW Review: THE GOOD PERSON OF SZECHWAN, Barbican Centre
Posted: Feb. 10, 2019


BWW Feature: Three Russian Plays Come to the Barbican CentreThree Russian Plays Come to the Barbican Centre
Posted: Feb. 7, 2019


LAST 365 DAYS

BWW Review: TROILUS AND CRESSIDA, Royal Shakespeare TheatreBWW Review: TROILUS AND CRESSIDA, Royal Shakespeare Theatre
Posted: Oct. 19, 2018


BWW Review: FIDDLER ON THE ROOF, Menier Chocolate FactoryBWW Review: FIDDLER ON THE ROOF, Menier Chocolate Factory
Posted: Dec. 5, 2018


LES MISERABLES Composer Claude-Michel Sch?nberg Discusses His Life and WorkLES MISERABLES Composer Claude-Michel Sch?nberg Discusses His Life and Work
Posted: Dec. 3, 2018


BWW Review: THE AMERICAN CLOCK, Old VicBWW Review: THE AMERICAN CLOCK, Old Vic
Posted: Feb. 14, 2019


BWW Interview: Movement Director Shelley Maxwell Talks EQUUSMovement Director Shelley Maxwell Talks EQUUS
Posted: Feb. 12, 2019


BWW Review: GUYS AND DOLLS, The Mill at SonningBWW Review: GUYS AND DOLLS, The Mill at Sonning
Posted: Nov. 29, 2018


BWW Review: THE AMERICAN CLOCK, Old Vic
February 14, 2019

This new production of Arthur Miller's rarely-produced play, on now at the Old Vic, offers some emotional and aesthetic rewards, but misses more often than it hits.

BWW Review: THE GOOD PERSON OF SZECHWAN, Barbican Centre
February 10, 2019

A hail of cigarette boxes, bicycles, jazz, and divine intervention. Moscow Pushkin Drama Theatre's The Good Person of Szechwan, at the Barbican Centre, is unpredictable, intense, and cathartic - like a drug intervention. (One where cigarette boxes fall from the ceiling.)

BWW Interview: Movement Director Shelley Maxwell Talks EQUUS
February 12, 2019

Shelley Maxwell doesn't stop. Born in Jamaica, trained in Cuba, practised in New York, and based in London, she has turned heads as a choreographer and performer, in contemporary dance and musical theatre. Now, Shelley has taken on Equus with English Touring Theatre and Theatre Royal Stratford East as its Movement Director. I talked to her about the brilliance of Equus, what a movement director does, and what's good in London.

BWW Feature: Three Russian Plays Come to the Barbican Centre
February 7, 2019

'It's not always easy for foreigners to get to London,' the theatre's general administrator told me. 'They asked us a lot of questions: Who are you? What are you here for?' But, he pointed out, 'people in every country love Russian theatre.'

BWW Review: WALTZ OF THE HOMMELETTES, Barbican Centre
January 16, 2019

A bird, a bunny, and a baby; a shoemaker and a clock and a critter on a walk. Waltz of the Hommelettes is a breezy, charming distraction of a play, 50 minutes of children's illustrations brought to life through costume, props, and puppetry.

BWW Interview: Viktor Ryzhakov Talks THE SUN LINE
December 19, 2018

The Sun Line is currently playingat Sadler's Wells. Russian stage director and actor Viktor Ryzhakovdiscusses the show, as well asthe universality of theatre, the relationship between art and politics, and how he's come to understand the world.

BWW Review: THE SUN LINE, Sadler's Wells
December 17, 2018

When I first saw The Sun Line, at The Meyerhold Centre, in Moscow, I was so jolted by its aggressively inventive technique that I started recommenidng it to all my friends.

BWW Review: FIDDLER ON THE ROOF, Menier Chocolate Factory
December 5, 2018

In Trevor Nunn's extraordinary new production of Fiddler on the Roof, at the Menier Chocolate Factory, a dimension of intimacy and immediacy recasts a familar show, dragging it, sometimes tearfully, always beautifully, closer to the audience than it has ever been.


December 3, 2018

Not many people know the name Claude-Michel Schonberg, but everybody knows his music: as the composer of Les Miserables and Miss Saigon, Claude-Michel is present in everyone's playlist, in a songbook on everyone's piano, andin every karaoke lineup. Last night, he sat down with journalist Edward Seckerson to talk about his life, work, and inspiration, and the projects that didn't quite make it.

BWW Review: GUYS AND DOLLS, The Mill at Sonning
November 29, 2018

Guys and Dolls has come to the Mill at Sonning, and brought with it all the sleazy music, flashy dancing, and good, clean fun you could want in an evening.

Theatre Critic Chris Jones Talks Broadway and His New Book at the Bloomsbury Institute
November 28, 2018

Chris's new book, Rise Up!, looks at Broadway and American society from Angels in America to Hamilton. In an interview with fellow critic Matt Wolf, at the Bloomsbury Institute yesterday, Chris talked about what makes a show successful, how the theatre has changed in American and Britain, and what we can expect to see in the future.

BWW Review: MOMMA GOLDA, King's Head Theatre
November 5, 2018

Put simply, Ruby's caricaturistic portrayal of Golda Meir, the former Prime Minister of Israel, does great injustice to the source material, and blends comedy and melodrama so unevenly as almost to be making fun of Mrs Meir and the country she led through war.

BWW Review: GIRLFRIENDS, Bishopsgate Institute
November 4, 2018

Now, the London Musical Theatre Orchestra have added their own spin, mounting Girlfriends as a concert with only minimal narration, rather than a fully produced musical. It seems they've found the winning formula: LMTO's Girlfriends is musical dynamite, a burst of energy and passion and very, very good singing.

BWW Interview: Director Steph Dewar Talks BIRDSONG at Progress Theatre
November 2, 2018

On November 11, 2018, people everywhere will commemorate the centenary of the end of World War One with events, speeches, prayers, and moments of silence. At The Progress Theatre in Reading, a special performance of Birdsong, Rachel Wagstaff's adaptation of the novel by Sebastian Faulks, is being mounted to commemorate the lives lost to the war, and to raise money for British Legion. I sat down with director Steph Dewar, who told me why Birdsong is special to her, what her cast has done to prepare, and how theatre can help keep history alive.

BWW Review: TROILUS AND CRESSIDA, Royal Shakespeare Theatre
October 19, 2018

Troilus and Cressida begins with a thunder of drums that knocks the programme out of your hands.

The Cadavers of BODY WORLDS Come to London
October 5, 2018

There is a kind of macabre fun in Body Worlds. Some of the plastinates are posed majestically; others demonstrate the strength and dynamism of the human body. Still others seem like they're just having a lark. Walking through the dark and winding corridors of the exhibit is a bit like visiting the lab of Edgar Allan Poe.

BWW Review: THE LESSON, The Hope Theatre
September 28, 2018

The pupil comes prepared for her lesson: pens, notepad, ruler. The professor apologises for being late. The lesson begins. And then, the lesson really begins. In Matthew Parker's clever new production of Ionesco's play, everything is in order but nothing makes sense.

BWW Review: SHAKESPEARE IN LOVE at Moscow Pushkin Drama Theatre
June 11, 2018

On the stage of the Moscow Pushkin Drama Theatre, Evgeny Pisarev has built a whole world out of lush satin bed-sheets, elegant lace gowns, the flash of steel blades, and hapless declarations of romance. The world of Shakespeare in Love, which made its Russian debut this May, is decadent and fantastical; it flaps around in the mercy of whim but is anchored in place by drama.

BWW Review: JUST SO at the Stanislavsky Electrotheatre
May 29, 2018

Just So, at the Stanislavsky Electrotheatre, is so bewildering and bright it's hard to write about

BWW Review: THE RED at The Kolobov Novaya Opera
May 29, 2018

The Red is primordial and pretty, historical and surreal. It embraces contradictions and holds them warmly, tightly, tenderly.



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