‘Macbeth’ Broadway review: Daniel Craig play is a Disaster Royale

Guy Lodge Film CriticIt’s not that we haven’t seen Emily Watson on screen recently — it just feels a long time since any film really made us look at her. Somehow knowing and guileless and haunted at once, her piercing, pale-eyed gaze made an immediate mark in film history with her debut in “Breaking the Waves” a quarter-century ago, but it’s been an underused natural resource of late: TV has been more generous, but the movies have confined her to stock mom-and-wife supporting roles for years.

A driver escaped with 'minor injuries' after their car was flipped on it’s roof during an accident on Atherleigh Way. A white Ford Puma was seen upside down on Atherleigh Way at junction of Kirkhall Lane, close to the Asda superstore in the area. Police, ambulance and recovery services were on the scene for over an hour as traffic was filtered around the scene of the crash. The scene was cleared at around 11:15 and traffic resumed to normal.

By now, you’ve likely seen Marvel’s “Doctor Strange In The Multiverse of Madness,” or you wouldn’t be reading this. Or at least, you shouldn’t; this is your final, *spoilers ahead* warning.

Trouble in Mind” was big news last season. Her “Wedding Band” is even bigger news this theater season.

Daniel Craig is the latest star taking on “The Colbert Questionert”.

Crush (★★★☆☆). In one pivotal scene between two amorous teens, a rainbow, distinct though far in the distance, arcs across the horizon, a bellwether of good fortune for young lovers.Just as fortunately, director Sammi Cohen, and screenwriters Kirsten King and Casey Rackham, seek to subvert their movie’s candy-coated innocence with a keen edge of tart and bawdy humor that keeps the ship from sinking into cheesy oblivion.That contrast bears out in the characters, too, with never-been-kissed high school junior Paige, played by Rowan Blanchard, often embarrassed by her oversharing, sex-positive mom Angie, played by Megan Mullally, a comic actress who, of course, knows her way around, over, and through a double entendre.Angie’s a “cool mom” to the extreme, so fully supportive of lesbian daughter Paige that she gifts her packs of glow-in-the-dark dental dams.

Sasha Urban editorAs soon as Daniel Craig announced in 2019 that “No Time to Die” would be his fifth and final film as international spy James Bond, rumors began — and haven’t stopped — swirling about who might take his place.Tom Hardy, Henry Cavill, Idris Elba and even “Euphoria” star Jacob Elordi have been whispered about in relation to the coveted role, and Lashana Lynch became the first woman to hold the 007 title when her role of Nomi took over Bond’s position in the last film.But Bond franchise producer Barbara Broccoli says “it’s going to take some time” before Craig’s replacement is named.“It’s a big decision,” Broccoli told Variety at the Longacre Theatre on Thursday at the opening night of “Macbeth” on Broadway, which she is producing and in which Craig is also starring. “It’s not just casting a role.

A very busy Broadway season comes to a close with its final production, and Sam Gold’s staging of Macbeth starring Daniel Craig and Ruth Negga is nothing if not a dynamic attempt to cap an unusual and often extraordinary theater season. Uneven – if not so much as Gold’s 2019 King Lear with Glenda Jackson – and peppered with choices both curious (what, no “double double toil and trouble?”) and captivating (a brief prologue that’s as funny as it is timely), this iteration of The Scottish Play, which opened last night at the Longacre Theatre, nearly holds up to the unavoidable hype of its starry cast.

Christian Lewis A bare set. Actors making stew on stage. An abundance of hand-held fog machines.

Sasha Urban editorDirector Sam Gold’s Broadway production of “Macbeth,” which stars Daniel Craig and Ruth Negga, was already a tall order for its cast, who had only four weeks of rehearsal before previews began. It was made more difficult by multiple COVID cases, including Craig’s, that caused the production to close for 11 days earlier this month.

NEW YORK -- The most commonly held taboo in the arts is uttering the word “Macbeth” inside a theater. Daniel Craig and Ruth Negga don't buy it.Shakespeare’s tragedy was said to be cursed before its first performance more than 500 years ago.

Opening night has arrived for Daniel Craig and Ruth Negga‘s Broadway production of Macbeth!

You might feel like you’ve already seen Mr. Saturday Night the musical even if you’ve never seen Mr. Saturday Night the movie, and whether you find that comforting – Billy Crystal certainly is one of the most likable presences in all of show business – or disappointing might depend entirely on your taste for well-delivered Borsht Belt comedy.

If “The West Wing” was made into a live stage show, banned all men and snorted a line of coke before the curtain went up, it might look something like “POTUS,” the hyperactive new farce that opened Wednesday on Broadway.One hour and 45 minutes, with one intermission. At the Shubert Theatre, 225 W 44th Street.Selina Fillinger’s weird and wired comedy imagines a White House fiasco, in which the president — we never meet him or anyone else with a Y chromosome — publicly makes a crass remark about the first lady (Vanessa Williams) and leaves a crew of panicked women staffers to clean up his PR mess.And what a mess it is.

Like some strange brew blend of VEEP, Noises Off and one of the late Charles Ludlam’s outrageously vulgar (and still sorely missed) Ridiculous Theatrical Company follies, Selina Fillinger’s all-female, star-packed political satire POTUS: Or, Behind Every Great Dumbass are Seven Women Trying to Keep Him Alive is an occasionally glorious mess of a farce, sometimes chaotically funny and other times as what-were-they-thinking?? goofy as the last segment of a Saturday Night Live episode.

Allow Usher, the central – only? – character of Michael R. Jackson’s scathingly funny and Pulitzer-Prize-winning musical A Strange Loop, to introduce himself.

A Brontosaurus and a Woolly Mammoth taking up residence among the mid-century modern trappings of a middle-class New Jersey household will now and forever make a theatrical impact – that, at least, hasn’t changed since playwright Thornton Wilder’s days – but so much else has, not least of all the ability of The Skin of Our Teeth, a seminal post-modern avant-garde winner of the 1943 Pulitzer Prize, to beguile merely on the strength of the post-modern avant-gardeness of it all.