Bruce Norris, previously best known for race drama Clybourne Park takes on social taboo issues without a pause.
Cyprus Avenue uses shock tactics to show us the horror within, but it is a comedy with depth, perceptiveness and a touch of genius.
It is easy to see why a film set mainly in a recording studio is so suited to the stage and Tom Scutt has created a beautifully balanced and unusual piece of theatre in Berberian Sound Studio.
Annie Washburn’s new play Shipwreck is intended as a reckoning with Trump. The show pitches itself as a invitation to dinner with the 45th President, but unfortunately would be better described as an evening of meandering chat with a cast of confused New York liberals.
The Lady from the Sea, rarely performed in the UK, is a fascinating and alluring play, but this production from Norwegian Ibsen Company provides an uneven account.
The culmination of Jamie Lloyd’s Pinter at the Pinter season, which has been a triumph, is two short plays from very early in Harold Pinter’s career both of which he directs. Not has only the production of all Pinter’s short plays proved that there is a large, enthusiastic audience for apparently difficult and oblique drama; it has also made the case that Pinter’s short drama, comparatively overlooked, should be judged on a level with his full-length plays. They include some of his best writing.
The publicity for Martin Crimp’s new play, gleefully stoked by the National Theatre, has been all about Cate Blanchett and ‘bondage’ scenes
David Thame has created a neat drama in Kompromat, but its explicit relationship to such a complex story, with real consequences for people who are very much alive, leaves a lingering sense that this speculative play allows the writer both to have his cake and to eat it.
The revival of David Grieg’s 2002 play, Outlying Islands, at the King’s Head Theatre reintroduces a play of wonderful, haunting poetry and complexity, a flawed but brilliant piece of writing.
Joe Hill-Gibbins’ of The Tragedy of King Richard the Second is inherently divisive, and the critics have obliged but, only three days into the year, it is very hard to imagine a more exciting or compelling Shakespeare coming along in 2019.