This is Measure For Measure in a production by RSC supremo Greg Doran and set in turn of the 20th century Vienna. It is and remains a difficult play to pin down but the contemporary resonances remain inescapable.
The first piece Moment Of Grace by Bren Gosling takes us back to the 1980s and the last time the country faced a crisis over a virus.
Now if you think that The House That Slipped is simply a well-meaning, worthy play, you would be wrong. The script, direction and the way Zoom is an essential part of the story, make it witty and intelligent.
“Sensitive and engaging,” “beautiful,” immensely thoughtful”: Take a look at the incredible reviews for new online play Moment of Grace, then watch for yourself at The Actors Centre website until 9 August.
Golden Toad Theatre’s Errol’s Garden project is creating opportunities for children to continue to engage with theatre and the arts from the safety of their homes, say co-directors Caroline Wigmore and Jen Green.
The bright colours of the performance underline the surrealism of Scrounger’s quest for justice, and Athena Stevens, the first actor in a wheelchair nominated for an Offie, performs her story brilliantly.
One of the early entries into the lockdown theatre world was Breach Theatre’s It’s True. It’s True. It’s True: Artemisia On Trial. After some time on furlough it’s now back online and available to watch again.
The Greenwich Theatre production of The Secret Love Life of Ophelia showcases a selection of excellent young performers that inadvertently asks some big questions about how we cast Hamlet in the 21st century.
Place Prints is a fascinating audio series from writer David Rudkin about places in the UK. There are certain locations where that sense of the past is much stronger than in others. These places have their own stories and voices and Rudkin tells them with a sense of lyricism from which contemporary writers might well learn.
Three character play Moment of Grace, based around Princess Diana’s visit to a London’s hospital’s first AIDS unit in 1987, is immensely thoughtful and emotional.
In Miraculous, Borderline Theatre Company and the Gaiety Ayr have created a bouncy online version of David F Ross’ comedy caper novel about an Ayrshire band that once had an unexpected number one hit.
What the tiny Ipswich company Red Rose Chain, has achieved with Twelfth Night in the time of social-distancing is oddly brilliant, you’re unlikely to find a more uplifting show in this strange, frustrating summer.
The latest work by Jayne Woodhouse comprises of five monologues performed in the compilation of Lost Souls produced by Loosely Based Theatre.
Combining music and choreography with the spoken word, Don’t Stop Thinking About Tomorrow is thoughtful in its conception and ambitious in its scope, looking at the ‘bigger picture’.
Wonder Fools have revived their intriguing two-hander The Coolidge Effect about the insidious effect of pornography, for an audio, lockdown production that actively enhances the intimacy of the original.
Jane Clegg falls into the category of a well-made play of three acts and is none the worse for that. Its elegant structure and growing sense of tension make it an absolute pleasure to watch.
With Up, Up, Up and Away, Super Stories With City Actors have put together a fun family adventure that successfully replicates the joy of live children’s theatre.
I’m running out of superlatives for The Show Must Go Online. Each show is exceptional, including the latest staging of Henry V, and manages to improve upon the previous week in as many ways as possible.
The National Theatre really did save lockdown and made us appreciate our phenomenal creative industries, but they may also have inadvertently pointed the way for the future as surely as National Theatre Live did in 2009.
Platform 4’s Invisible Music presents a beautiful and thought-provoking soundscape that is a wonderful manifestation of creativity in this period of isolation.