The Kid Stays in the Picture

Royal Court

The Kid Stays in the Picture

07 Mar 2017 - 11 Apr 2017

Pro reviewers rating
12 reviews

3.3 out of 5.0
Peer reviewers rating
0 reviews

0.0 out of 5.0

There are three sides to every story: my side, your side, and the truth. And no one is lying. Memories shared serve each one differently.

In the 1960s and 70s, Robert Evans became one of the most powerful figures in Hollywood. He saved Paramount Pictures from collapse and produced films including The Godfather and Chinatown. By the 1980s he was broke, with his personal and professional life spiralling at epic proportions.

Explores the rise and fall of the legendary film producer against the backdrop of a changing America through the second half of the 20th century.

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“Brilliant piece of experimental, multimedia theatre... Deeply funny and moving... I cannot get it out of my head.”

Paul Taylor (The Independent)

“Busy with images... An inventive and fascinating insight into the murky, magnificent and occasionally lethal world of Tinseltown”

Neil Norman (Express, The Stage)

“Projections, news cuttings, deft impersonation... an absorbing feast of reminiscence... Layered, evocative and nimbly performed.”

Henry Hitchings (Evening Standard)

“150 of the savviest, snappiest minutes I’ve spent... Dizzying, intoxicating... A menagerie of hardboiled Hollywood legends.”

Patrick Marmion (Time Out, Daily Mail)

“Technically whizzy... A freefall through a life which, fusing theatre and film, honours its rip-up-the-rule-book subject.”

Dominic Cavendish (The Telegraph)

“Empathy, intensity and flair... That rarest of things: a profound exploration of superficiality.”

Michael Arditti (Express)

“Relentless virtuosity... In the end, Evans remains a cipher... A tour de force but I wonder if it is strictly necessary.”

Michael Billington (The Guardian)

“The ensemble work is at times marvellous... By Complicite standards, static... It is hard to feel anything for Evans.”

Kate Kellaway (Observer)

“Purposely tending towards the two dimensions of cinema... an often exhilarating kind of cubist rendering, but it has its limits.”

Ian Shuttleworth (Financial Times)

“Misfiring stage play about film-making that's too much like a film... Audacious... Singin' in the Rain has more insight.”

Mark Shenton (The Stage, London Theatre, Express)

“Clever, ambitious, and intelligently done. But for me, it felt pointless, flattening the vitality of Evans' life and words.”

Sarah Crompton (What's On Stage, Guardian)

“A sprawling epic... A mess and meander of flashbacks, endless narration and unclear scenes... Lacks clarity and point.”

Aleks Sierz (Arts Desk, The Stage)

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