I hope that Joseph Charlton continues to write for the theatre. He has a real feel for what is enigmatic and imponderable in the static-fizzy conundrum of contemporary living, and uses the capabilities of the medium as a way of not editing out the possibilities.
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There just isn’t enough there, with ANNA X...The graphic design – the brightly-striped faces of Corrin and her co-star, Nabhaan Rizwan, on a dark background – is impeccable. Joseph Charlton’s writing, not so much.
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Whatever [Anna X's] onward trajectory, Charlton’s wily examination of self-invention in our fractured digital age is served to the hilt and beyond by a staging from Daniel Raggett that marks out this young director as someone to watch.
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Daniel Raggett directs the hell out of this thing. Legal restrictions are almost certainly the ... reason for ‘Anna X’ not being a ‘proper’ Anna Delvey play. It‘s come on ... since it premiered ... but ... it’s not quite the thing that it wants to be.
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The set and video design are just sensational, a rich tapestry of every changing images that conjure New York life, from its parks, to its offices with a strategically placed Jeff Koons, to the smoking rooms of nightclubs with the city sparkling behind.
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Daniel Raggett’s 80-minute production is cool and ironic...This show is a blast, at the Pinter for a sadly limited run. I really hope it transfers.
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What really impresses and beguiles in Daniel Raggett’s staging is the sheer amount of ground it covers in 80 minutes, the sheer swish with which two people – and a lot of video – summon up a world in which appearances are everything.
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If it looks like a production that is trying very hard to be cool, it must be given full due for succeeding. It’s frenetic, fun and ultra-cool.
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