Name: Orlando
Start: 2022-11-26
End: 2023-02-25
Location: Garrick Theatre

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Born in Tunbridge Wells in 1995, Emma Corrin is a Golden Globe-winning actress, best known for playing Lady Diana Spencer in Netflix’s *The Crown*. She made her West End debut as Anna in *[Anna X](https://www.londontheatre.co.uk/show/anna-x)* at the [Harold Pinter Theatre](https://www.londontheatre.co.uk/theatres/harold-pinter-theatre).

While at school, Corrin developed a keen interest in the performing arts, eventually taking a gap year by doing a Shakespeare course at the London Academy of Music and Dramatic Art. After twelve months at LAMDA, Corrin then began a drama degree at Bristol University, later leaving to pursue Education, English, Drama and the Arts at St John’s College, Cambridge. While studying, Corrin appeared in two films: *Cesare* and *Alex’s Dream*, later graduating from Cambridge University in 2018.

It didn’t take long for Corrin to make her television debut. In 2019, she played Esther Carter in an episode of *Grantchester*, starring alongside Jemma Redgrave and Robson Green. She then played Esme Winikus in *Pennyworth*, an American crime drama using characters from DC Comics. She’s also starred in *Misbehaviour*, a British comedy film with Rhys Ifans, Keeley Hawes, Jessie Buckley and Keira Knightley.

Corrin’s breakout role came in 2020, cast as Diana, Princess of Wales in Netflix’s *The Crown*. She joins an illustrious line up of British actresses in the show, including Claire Foy, Olivia Colman and Helena Bonham Carter. To date, Corrin has won Best Actress categories at the Critics Choice and Golden Globe Awards, with this number likely to grow.

Corrin made her professional stage debut in Joseph Charlton’s play *Anna X*. She played the title character who tries to find herself in a mix of New York parties.

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In New York you can be anything... even something you are not. Emma Corrin stars

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<div>The production is inseparable from the play when it comes to&nbsp;<a href="https://www.londontheatre.co.uk/show/anna-x"><em>Anna X,</em></a>&nbsp;the dazzling 80-minute theatrical joyride that brings the producer Sonia Friedman's RE:EMERGE season of new writing in a commercial context to a tremendous finish. Of the trio of plays under her auspices, following the dreary&nbsp;<a href="https://www.londontheatre.co.uk/reviews/walden-reemerge-season-harold-pinter-theatre-gemma-arterton"><em>Walden</em></a>&nbsp;and the lively&nbsp;<a href="https://www.londontheatre.co.uk/reviews/jouvert-at-harold-pinter-theatre-reemerge-season"><em>J'Ouvert</em></a>, Joseph Charlton's two-hander seems the one most obviously assured of a future life, not least in New York, where it is set. Whatever its 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. Indeed, one is immediately put in mind of such forbears as Rupert Goold and Rob Icke when it comes to directorial showmen who can serve text while proffering a visceral sensory experience.</div><div>&nbsp;</div><div>Events get off to an immediately electric start with a chance encounter in a club. The eponymous Anna has popped a pill with Donald Trump's head on it (that apparently insignificant detail resounds hauntingly near the close) and strikes up a chat with Ariel, a tech world brainiac who has devised a dating app that is about separating the wheat from the chaff. Their world, it's clear, is one of big money, not to mention the promise always of yet more money, and a fondness for start-ups that resonates when it comes to the individual, as well. After all, what are any of us — especially in the presence of a stranger — but our own personal start-up, given over to varying degrees of self-invention as we draw that other person into our orbit, or not.</div><div>&nbsp;</div><div>The con artist in our midst is a literary mainstay, whether one thinks of&nbsp;<em>The Talented Mr Ripley</em>, for example, or an era-defining play like John Guare's&nbsp;<em>Six Degrees of Separation</em>, to which Charlton seems to pay homage not least in an extensive use of direct address to the audience. At times, he over-deploys that device;&nbsp;you want these two to continue their feisty and spirited repartee unencumbered by a need to report events as opposed to dramatising them. Then again, the self-evident source material at play here (albeit greatly fictionalised in the process) deserves elaboration.&nbsp;<em>Anna X</em>&nbsp;draws upon the saga of the so-called "fake heiress" Anna Sorokin, who passed herself off via the pseudonym Anna Delvey and was imprisoned in 2019 after being found guilty on eight charges of differing degrees of duplicity and fraud. The story attracted attention in the press and has since sparked the imagination of various film companies.&nbsp;Charlton, a one-time journalist himself, has a nifty movie in embryo here, though it would be a shame to see the narrative stripped of the technical razzle-dazzle with which director Raggett sells it&nbsp;onstage.</div><div>&nbsp;</div><div>The play was first seen at London's VAULT Festival in 2019, where Anna was played by Rosie Sheehy, who has since moved on to the imminent West End revival of&nbsp;<em>Oleanna</em>&nbsp;- another two-hander with the name Anna embedded in the title. Her part here falls to recent Golden Globe winner and Emmy nominee <a href="/actor-profile/emma-corrin">Emma Corrin</a>, whose portrayal of Princess Diana in&nbsp;The Crown&nbsp;must have given them at least a glimpse into the way in which people fashion a persona they want the world to see. Lean and intensely charismatic onstage, Corrin is terrific, playing not just the intriguingly adnrogynous Anna but a motley array of others, men and women, who are encountered along the way. They're a natural shape-shifter, which is perfect for the part.&nbsp;</div><div>&nbsp;</div><div>Corrin is adroitly partnered by Nabhaan Rizwan as an instantly likeable Ariel, who, like Anna, exists in an intensely image-conscious world that here allows the virtuosic design team of Mikaela Liakata and Tal Yarden to fashion a kaleidoscopic visual funfair that acts as its own kind of drug; Jessica Hung Han Yun's lighting is itself a marvel, adding to the sense of playfulness in a climate keen to bill itself as one long party lest the hangover be too awful to contemplate.</div><div>&nbsp;</div><div>When that reckoning comes, as it must, it arrives via a gently moving denouement about the "playground" that is America: a place where lying can bring with it not a criminal record but, conversely, ever-greater entrepreneurship and money and fame (Trump, anyone?) People often talk of something being a play for today merely because it ticks certain boxes, but&nbsp;<em>Anna X</em>&nbsp;really is a product of and for our times, and the deliberate anonymity of the title could not be more ironic in light of the renown this West End perch looks likely to bring to everyone involved.</div><div>&nbsp;</div><div><a href="/show/anna-x"><em>Anna X is at the Harold Pinter Theatre to 4 August, Book Anna X tickets on LondonTheatre.co.uk now.</em></a></div><p><sup><em>Photo credit: Anna X (Photo by Helen Murray)</em></sup></p>

'Anna X,' starring Emma Corrin, is an electric, theatrical joyride

The Harold Pinter Theatre, established and adorned with Victorian architecture in 1881, is one of the most notable theatre venues in the heart of London. Originally known as the Royal Comedy Theatre, it later adopted the name of 'Harold Pinter', honouring the famous playwright. The theatre is situated conveniently in the centre of the bustling West End, an ideal location for tourists and locals alike. The interior is decorated with an impressive array of original features aligned with its historical era of inception, creating an aesthetically pleasing atmosphere for theatre-goers. The theatre has an audience capacity of 796 people across four levels, with the seats divided into Stalls, Dress Circle, Royal Circle and Balcony. Over time, it has been home to many outstanding performances, including shows like 'The Homecoming', 'Moonlight', and 'Betrayal'. The Harold Pinter Theatre undoubtedly offers a memorable and culturally enriching experience for all those who visit.

### How to Get to the Venue 

Harold Pinter Theatre is accessible and well-connected, located at Panton Street in the City of Westminster. The closest Underground stations are Piccadilly Circus and Leicester Square, both within a short 5-minute walk. Numerous buses service the area regularly, making it straightforward to reach using public transport. For those driving, the MasterPark at Whitcomb Street and NCP at Denman Street are the nearest parking options.

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Harold Pinter Theatre

The Harold Pinter Theatre is a historic venue in London's West End, known for hosting many notable performances. Convenient and easily accessible by public transit.

How do we define those most fundamental questions in life: who we are and who we love? And what happens when our feelings about gender, sexuality and identity come into conflict with rigid social structures? A century ago, Virginia Woolf ploughed headlong into what feels like a shockingly modern debate with *[Orlando](https://www.londontheatre.co.uk/show/26188-orlando-tickets)*, her forward-thinking 1928 novel. Now, [Emma Corrin](https://www.londontheatre.co.uk/theatre-news/news/discover-emma-corrin-award-winning-performances-on-tv-in-films-and-on-stage) – who rose to fame as Princess Diana in *The Crown* – stars in a new stage version of Woolf’s remarkable work.

The non-binary-identifying Corrin is particularly exciting casting for Orlando, an Elizabethan nobleman who wakes up one day to find that he is now physically a she, and who then proceeds to question the distinctions of gender as the centuries pass (Orlando is immortal and forever young, too). We know that the character is anatomically male at the start of the production, thanks to a flash of prosthetic genitals, but the transformation is left deliberately, and effectively, ambiguous.

Instead, Woolf’s playful tale shows up the absurdities – why should Orlando have to eat daintily as a woman, but not a man? – and the raging inequalities: Orlando can no longer inherit the family estate when he becomes female. Amusingly, some elements remain the same, too. Society keeps pressuring Orlando to marry, presenting first a collection of eligible wives, then potential husbands. 

*Orlando* is essentially an extraordinary love letter from Woolf to her paramour Vita Sackville-West, written to capture all of her many and contradictory facets. That boundless generosity comes blazing through Neil Bartlett’s adaptation: the joy of seeing Corrin’s androgynous, fiercely independent Orlando slipping in and out of different guises, boldly seeking adventure and growth, and pursuing lovers of the same or opposite sex, simply because that’s where happiness lies. 

There are profound moments that speak soberly to us, as well – most poignantly when Orlando emphasises, twice, that when he changed gender, some people wanted to kill him. That rings out with terrible force during a World Cup in a nation where homosexuality is criminalised, and at a time when many in the trans community face hostility and violence.

Michael Grandage’s nimble production also captures some of Woolf’s formal inventiveness. A chorus of Woolfs (fracturing her identity between them) narrates in fragmented, overlapping, layered language, glorying in the power of words to create and complicate. And a wonderful Deborah Findlay, acting as Orlando’s housekeeper and, here, dresser, breaks the fourth wall with panto vigour.

However, in zipping through hundreds of years in just 90 minutes, Bartlett resorts too often to comic zaniness – *Horrible Histories* style. There are so many quotes and references that it grows distracting, whether it’s lyrics from *Cabaret*, the peerless final line of *Some Like It Hot*, or even a riff on the Just Eat ad, alongside dodgy cod-Shakespearean blank verse.

Likewise, with casting that is cheerily gender- and colour-blind, Orlando ceases to be such a radical figure; it’s just one more person putting on a costume. That means nothing is “real”: not just the exterior constructs that Woolf was challenging, but the people within them as well, reduced to cameos. In particular, I wanted more of Lucy Briers’s world-weary Elizabeth I, and Millicent Wong’s smouldering princess and shrewd sex worker. Lampshading the latter as the “working-class supporting character” in a comic aside doesn’t excuse this use of her.

And yet this *Orlando* worth seeing for Corrin alone. Their performance is a glorious feat of shapeshifting, from wide-eyed boy to swaggering, sexy nobleman and self-possessed lady – while always retaining the soul of the character, their curious mind, quick wit and passionate heart. Corrin’s Orlando feels deeply: “I could taste her,” they gasp as lust overcomes them, and their heartbreak is all-consuming. 

Though Bartlett references how the past can speak to the here and now, his script stops short of really engaging with contemporary concerns. He over-emphasises some fairly obvious takeaways (of course you were better off as a man than a woman in most of recorded history, and still today really) and is too heavy-handed, even slightly tasteless, in how he prefigures Woolf’s suicide. 

But I was charmed by Peter McKintosh’s evocative design, which whisks us from the great frost of 1607 (dry ice and exquisite stillness) to a raucous Russian banquet, sumptuous tent in Constantinople, or the splendour of court – all juxtaposed with blasts of rock music. A flawed but engaging experiment, and one given a beating heart by the magnificent, mercurial Corrin.

*Orlando is at the Garrick Theatre through 25 February. Book Orlando tickets on London Theatre.*

[![LT - CTA - 250](//images.ctfassets.net/6pezt69ih962/1t6HRGmhlYl70k6PmR0mOZ/3caac861bc1d4233cd7844652c925623/LT-CTA-250.png)](https://ticket.londontheatre.co.uk/booking/calendar?product_id=26188&content_product_id=26188&venue_id=117)

*Photo credit: Emma Corrin in Orlando (Photo by Marc Brenner)*

'Orlando' review – Emma Corrin is magnificent in this experimental Virginia Woolf adaptation

The Garrick Theatre is a renowned and historical theatre venue located in the heart of London, Charing Cross Road, near Leicester Square. Opened in 1889, it was named after the stage actor David Garrick. Designed by Walter Emden and C.J. Phipps, it is built with an exquisite blend of classical and baroque architectural styles, giving it a unique touch of elegance. The theatre boasts a theatrical heritage unrivalled in its history of performances, artists, and premieres, hosting a variety of world-class productions ranging from dramatic plays, farces, comedic performances, to Shakespearean plays. With a seating capacity of 656 spread across three levels - stalls, dress circle, and grand circle - the theatre offers an intimate atmosphere, drawing audience closer to the performances and making it a favourite venue for both theatre-goers and performers. Along with the splendid auditorium, the theatre contains bars at each level providing a comfortable space for refreshment. The theatre is equipped with state-of-the-art systems offering excellent audio and visual experiences. A visit to the Garrick Theatre is a step back into time, offering classic London theatre experience in a beautiful and iconic venue. 

## How to Get There
The Garrick Theatre is easily accessible by various modes of transport. If you are using the London Underground, the closest Tube stations are Leicester Square (Northern, Piccadilly) and Charing Cross (Bakerloo, Northern). By bus, several bus routes pass close to the theatre, including the numbers 24, 29 and 176. If driving, the nearest car park is Q-Park Chinatown.

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Garrick Theatre

The Garrick Theatre is an iconic London venue, known for its architectural elegance, rich history, and hosting top-tier productions.

Born in Tunbridge Wells in 1995, Emma Corrin is a Golden Globe-winning actress, best known for playing Lady Diana Spencer in Netflix’s The Crown. She made her West End debut as Anna in Anna X at the Harold Pinter Theatre.

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*The Book of Mormon* comes from South Park creators __Trey Parker__ and __Matt Stone__, and *Avenue Q* co-creator __Robert Lopez__. *The Book of Mormon*, winner of nine Tony Awards® and four Olivier Awards, including Best Musical for both, follows a pair of Mormon boys sent on a mission to a place that’s about as far away a from Salt Lake City as you can get. 

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The Garrick Theatre opened in 1889, and is named after actor David Garrick. When the theatre was built, architects discovered an underground river on the site!

The theatre became associated with comedy in 1982 with a four-year run of the farce *No Sex Please, We’re British*. This was the longest-running show at the Garrick, until J. B. Priestley’s *An Inspector Calls* transferred from the [Aldwych Theatre](https://www.londontheatre.co.uk/theatres/aldwych-theatre) in 1995 and resided for six years.

In recent years, a number of musicals have played here, including *A Little Night Music*, *Chicago*, and *The Scottsboro Boys*. In 2015, [Kenneth Branagh](https://www.londontheatre.co.uk/stars-on-stage/kenneth-branagh) took up residency at the Garrick for a year-long season of plays with his own theatre company. 

## Garrick Theatre Seating Information

The auditorium has three levels – Stalls, Dress Circle and Grand Circle. In the Stalls, the view of the top of the stage is slightly obscured by the overhang of the Dress Circle from Row N onwards. 

In the Dress Circle, the view of the stage is not obscured by the overhang of the Upper Circle, but the ceiling can feeel low for those in the last row. The seats are designed in a horseshoe shape around the theatre and the Dress Circle offers good sightlines.

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The Garrick Theatre, opened in 1889, is associated with comedy and musicals, and has housed popular shows like 'An Inspector Calls'. It features three seating levels.

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