Playbill UniverseReviews: What Are Critics Saying About Orlando Starring Emma Corrin in London's West End?
The Neil Bartlett play about the hero-heroine's journey over five centuries opened at the Garrick Theatre December 5.
By
Leah Putnam
December 06, 2022
Critics are sharing their thoughts on the West End production of Neil Bartlett's Orlandoat the Garrick Theatre. Adapted from Virginia Woolf's novel of the same name, the run officially opened December 5 following previews that began November 26. Performances will continue through February 25, 2023.
Emma Corrin (The Crown) stars in the title role, joined by Deborah Findlay as Mrs. Grimsditch, Jessica Alade as Virginia/Drunken Tory, Debra Baker as Virginia/Favilla/The Captain, Akuc Bol as Virginia/Euphrosyne/Prue, Lucy Briers as Virginia/Queen Elizabeth/Officer, Richard Cant as Virginia/Harriet/Kitty, Melissa Lowe as Virginia/Drunken Tory, Jodie McNee as Virginia/Marmaduke, Oliver Wickham as Virginia/Clorinda, and Millicent Wong as Virginia/Sasha/Nell.
Born in the reign of Elizabeth I, the hero-heroine of Orlando journeys through five centuries and a myriad of encounters in search of the answer to one question: How do we find the courage to truly be ourselves?
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Playbill will continue to update this list as reviews come in.
The production features set and costume design by Peter McKintosh, lighting design by Howard Hudson, sound design and compositions by Alex Baranowski, movement by Ben Wright, associate direction by Anna Girvan, and casting by Jacob Sparrow. MGC and Sand and Snow Entertainment produce.
Michael Grandage directs, reuniting him with Corrin, following their recent collaboration on the Amazon feature film My Policeman. Corrin returns to the stage following their Olivier-nominated performance in Anna X. The actor played Lady Diana Spencer in The Crown, winning a Golden Globe and Critics Choice Award, as well as receiving a SAG and Emmy nomination. They star in the films My Policeman and Lady Chatterley’s Lover and the limited series Retreat.
The play comes on the heels of a broader cultural conversation about Dahl's work and the prejudice that was embedded in many of his most beloved stories.