Daniel Fish’s sexed-up, pared-down version of Oklahoma! at the Young Vic Theatre (co-directed for London by Jordan Fein) is less a revival and more a full blown deconstruction of the original material.
David Eldridge’s play Middle at the National Theatre’s Dorfman space is a sketch, a watercolour on the landing of middle life: sensitive, accomplished but not likely to stop you in your tracks.
Based on the incredible true story, The End of the Night takes place in the house of Felix Kirsten (Michael Lumsden), who has invited Nazi Heinrich Himmler (Richard Clothier) to meet with Jewish man Norbert Masur (Ben Caplan) who serves as a representative of the Jewish people.
Following cancellation after cancellation of festivals for early-career creatives to showcase their work, the OFFIE award-winning ChewBoy Productions is curating ChewFest, a week-long event of celebrations, experiments and brand-new, never-before-seen work at London’s Lion and Unicorn Theatre from 23-28 May 2022. Get booking now!
As Jez Butterworth’s production returns to the West End, with original cast members Mark Rylance and Mackenzie Crook, it is interesting to reflect on how well-anointed modern classics fare more than a decade after they were originally feted.
Cold Feet actor-turned-playwright Sally Rogers’ debut play The Still Room finally gets its world premiere in June at London’s Park Theatre, with a cast that includes her former co-star in The Bill, Chris Simmons. Time to get booking!
Aimed at ages three to eight, The Emperor’s New Clothes at the Polka Theatre is a fun show with a moral message that remains as relevant today as it ever was.
However, Dominic Cooke’s production of Emlyn Williams’ play The Corn Is Green makes a good case for reviving it but the real reason to see the drama is for Nicola Walker.
Love London Love Culture’s Emma Clarendon rounds up the reviews for Suzie Miller’s solo show starring Killing Eve’s Jodie Comer.
Mark Ravenhill’s production of La Boheme is pared down to 90 minutes and four on-stage characters, with a piano taking the place of an orchestra. This makes it intimate and immediate.
David Eldridge’s trilogy about relationships, which started in 2017 with the hit show Beginning, now reaches its second part with Middle, which has opened at the National Theatre.
Based on true events, the world premiere production of The Misfortune of the English at the Orange Tree Theatre features three completely engaging performances – but it does seem to run out of steam towards the end.
Barry Humphries is 88, five shows into a 27-date tour, The Man Behind The Mask, and this time he is presented as himself, the trickiest character of all.
With The Burnt City, Punchdrunk’s biggest show to date, they take on Greek myth, although the aesthetic is anachronistic: boho chic meets old school Hollywood glamour meets monochrome starkness: there’s not a floaty tunic in sight, although there is a fair bit of blood and gore.
The Young Vic presents a rather sexy version of Oklahoma! that replaces twee interpretations of cowboy country with a throbbing desire that inflicts the inhabitants of this rural town, and becomes a fascinating technical exercise in deconstructing a musical.
Even 20th century drama is under threat. So can the National Theatre buck this trend with this rediscovery of The Corn Is Green, and some help from its star, Nicola Walker?
Jodie Comer’s extraordinary West End stage debut in Suzie Miller’s play Prima Facie at the Harold Pinter Theatre reveals not only strong vocal skill but an absolutely dazzling physical expressiveness and high-voltage emotional power.
Ian Rickson’s production of Jez Butterworth’s Jerusalem now returns to the Apollo Theatre with all the vitality and urgency it had first time round.
Jackie Sibblies Drury’s new play is an entirely female affair, no male characters are present, implied or even speak, only the time-travelling idea of Mary, her ghostly mother, Mary’s daughter and another tri-generational white family.
Mike Bartlett is very prolific, but this Restoration-style satire on society at London’s Lyric Hammersmith is sadly timid and predictable.