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.
Anthony Neilson’s adaptation of The Tell-Tale Heart for the National Theatre updates the original, adding slasher film shocks while retaining the intense strangeness of the original.
The Merry Wives of Windsor is often looked-down-upon as a casual piece of throwaway entertainment lacking substance or serious intent, with little for scholars to get their teeth into. However, this is a play whose time is surely coming again.
Doctor Faustus at Shakespeare’s Globe certainly provides an entertaining evening and, if it raises questions as well as providing answers, its approach is fresh, important and fascinating.
Singer-songwriter Anaïs Mitchell’s ‘folk opera’, Hadestown, is based on the Orpheus and Eurydice myth, the ultimate ancient story about music.
The fourth instalment in Jamie Lloyd’s consistently enjoyable season of Harold Pinter’s short plays contrasts plays from either end of the writer’s career.
Project 2 – Katy Schutte and Chris Mead – are improvising 13 shows, a different one for every night of their run at the Rosemary Branch Theatre.