Sara Krulwich/The New York TimesĪside from the National Theater the Donmar has become the most influential and productive theater in London, despite its diminutive size. Jude Law in the Broadway production of "Hamlet." Credit. Last season’s acclaimed production of “Mary Stuart” was a Donmar transfer in the classic mold: lean, mean and full of meaty acting. Get a glimpse of that black brick, and you know what you’re in for: most likely a starkly designed, insightfully acted revival of a classic play, or possibly a starkly designed, insightfully acted revival of a classic musical. The brick slab echoes the actual back wall of the Donmar stage, but it has become something akin to the company’s unofficial logo, like the roaring lion that used to brand MGM movies, promising prestige and class. It has become a stylistic signature of sorts for the Donmar Warehouse, the tiny London theater near Covent Garden that has become a busy theatrical generator of first-class productions in London and New York. That brick wall, like a monumental sculpture bathed in silvery light, will look distinctly familiar to avid theatergoers. IN the opening minutes of the new production of "Hamlet" on Broadway the massive stone towers at the rear of the stage slide slowly apart to reveal another looming facade, a craggy expanse of brick painted shiny black.
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