Anna at the National Theatre is a taut thriller and an interesting and different play watching experience.
Despite the best efforts of Kelsey Grammer in the lead role, this leaden and often down right confusing revival of Man of La Mancha at the London Coliseum is unlikely to give the show new impetus on this side of the pond.
All of the actors in Our Town create a beautiful puzzle of different personalities, dynamics and ages that really make their performance shine as a whole.
Jonathan Harvey’s delightfully funny comedy Boom Bang-A-Bang exploring relationships and how quickly they can disintegrate is sharply brought to life in this engaging production.
Philip Ridley and Robert Chevara’s production of Vincent River emerges as a masterful depiction of oppositional but mutual need unexpectedly producing a healing catharsis.
Lazarus is unlikely to appeal to lovers of traditional musical theatre, but for those seeking theatre with an edge the production more than lives up to its tantalising promise.
The blood-soaked events of The Duchess [of Malfi], a co-production between the Lyceum and the Citizens Theatre, are almost unwatchably intense at times. As a depiction of timeless and timely considerations, however, this production is hard to beat.
Bella Heesom explores the subliminal messages that girls assimilate from a young age in Rejoicing at her Wondrous Vulva the Young Woman Applauded Herself at Ovalhouse.
Musically Dido is okay, especially Eyra Norman’s Belinda and the spirited chorales. But it could have been a piece of theatre magic, and wasn’t.
First things first, how good a title for a play is Sad About The Cows? Pretty bloody good I would argue. It’s also a pretty bloody good play, as it happens.