The Ustinov studio concludes its season of premieres from the Americas with a slow-burning gem from Argentina, The Omission of The Family Coleman, Claudio Tolcachir’s cult Buenos Aries hit that played for four years in Tolcachir’s kitchen-slash-theatre, now adapted and relocated to Ireland by Stella Feehilly.
Many of us will be all too aware of the 9-to-5 drudge that office life can encompass. Yet in Gecko’s Institute, the office becomes a place of both dream and nightmare.
Intronauts, the new co-production from Green Ginger and the Nordland Visual Theatre is a work badly in need of a writer.
Trainspotting Live is a theatrical experience like little else. It may not hit the heart like it does the gut but most will be far too caught up in the ride to care.
Truly great acting is rare to see on stages these days, the type that elevates good work into a higher form of art. Yet right now at Bristol Old Vic, Tom Mothersdale’s Tricky Dicky, Richard III, is music, verse and sculpture of the highest order.
There is plenty to like in Tobacco Factory Theatre’s A Midsummer Night’s Dream, a brisk, crisp and fully accessible take on the play that should provide perfect introductions to a Shakespeare novice.
At an hour No Kids is perfectly paced, a constantly fascinating piece; one that articulates a liberal generation’s worries and desire in creating a familial unit in 21st century Britain.
A few hours before press night, on Valentine’s morning, playwright Chinonyerem Odimba tweeted out that her new play Princess & The Hustler was a love letter to her Bristol, a city she fell in love with 20 years ago.
Tanya Barfield’s Blue Door is a dense, thoughtful 85-minute work that sometimes purrs in the Ustinov Studio.
An adaptation of Angela Carter’s 1991 novel about a theatrical dynasty, spanning a century and loaded with Shakespeare, sex and song, Wise Children can exhaust in its constant frenzy of invention, but a surplus of ideas is always preferable than too few.