The thing is, you can’t fault the acting in Jitney at the Old Vic – the actors are superb. And Tinuke Craig’s expert direction means the cab office setting doesn’t feel static or forced. But the play takes a long time to get to the interesting stuff and then leaves a lot hanging.
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While elements of Britannicus at the Lyric Theatre Hammersmith feel like hollow embellishment, as a family drama about a toxic family who happens to be the ruling class it is a gripping yarn.
Amy Adams’ Amanda is a matriarch full of bustle and bristle in Jeremy Herrin’s production of The Glass Menagerie at the Duke of York’s Theatre. She is an irritating spark to her despondent and bored son and pushes her shy, nervous daughter Laura further into her own world. And, she is such a spark that you feel Amanda’s absence when she is on stage.
The Ministry of Lesbian Affairs at the Soho Theatre is one of those plays that unashamedly bursts off the stage, much like the lesbian choir around which the story revolves.
There is a stillness that descends over a theatre audience when they are gripped and fidgeting when they aren’t. In the first half of The Breach at Hampstead Theatre, the audience was fidgeting.
Gloria has taken refuge in her attic, distracting herself from the dark winter months and grief by playing punk and dictating entries for her memoir into her laptop.
The family at the centre of the story is that of Richard Myers (Robert Lindsay), an eminent geneticist who now has Parkinson’s Disease.
In Jonathan Crewe’s play Under the Radar, female journalist Lee Stilling (Eleanor Hill) is profiling male inventor Martin Christensen, who has built his own submarine.
Anthony McCarten’s new play The Collaboration at the Young Vic kicks off as you arrive in the auditorium with an 80s DJ set. It’s toe-tapping, hip and creates a party, edgy, youthful yet nostalgic atmosphere.
Henry V opens with a burst of energy at a club with a worse for wear party prince. It’s lifted from Henry IV part 2 and is an important reminder of Henry V’s past and subsequent transformation into a serious king.
The play follows Pierre, a successful surgeon who’s married and the father of a grown-up daughter, as he juggles his professional and family life with having a mistress.
Alistair McDowall’s The Glow at the Royal Court is a play I’ve had to ponder – a lot – and I still don’t have any firm conclusions.
The Donmar Warehouse’s stage has been converted into a French ski resort for Force Majeure.
Peggy Ramsay is a play agent, but she is more famous than the playwrights and the work that she represents.
Fair Play is set in the world of female athletics. Ann joins a running club, meets Sophie, and the two bond over their love of running.
As the stage was plunged into darkness at the end of Manor on the National Theatre’s Lyttelton stage, I was thinking: What was the point?
Al Smith’s new play Rare Earth Mettle at the Royal Court is a meaty piece that covers a lot of ground.
The play is set in rural America, where a mother (Stockard Channing) and daughter Jessie (Rebecca Night), who has epilepsy, live together.
Are you allowed to call yourself a theatre fan if you haven’t seen The Mousetrap, the West End’s longest-running play? Possibly. But I’ve ticked that box now.
The Normal Heart is a play of fights. Set in the early 1980s in New York, gay men are dying, but gay activist Ned Weeks is struggling to get anyone to do anything.
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