By the end of Orange Tree Theatre’s production of Bryony Lavery’s Last Easter the certainty that friendship and love are life’s true miracles is quietly and effectively realised.
I finally caught up with Michael Longhurst’s restaging of his 2012 Royal Court production of Nick Payne’s Constellations, a gem of a two-hander.
Although some theatres are tentatively reopening, the creative vigour of other companies like Clean Break is undimmed.
Amy Berryman’s ambitious debut play Walden about siblings, climate change and space travel is full of ideas, but what happened to the emotions?
Harm, which has already been screened on BBC Four with Leanne Best, is a new monologue by Bruntwood Prize-winning playwright Phoebe Eclair-Powell and now the one-woman show stars Kelly Gough, familiar most recently from the BBC’s Casualty.
The camera can take you to places where the naked eye rarely goes. Like close. Very close. Close up. And then some. This is exemplified by Fraser Watson’s brilliant filming of The Separation, a 17-minute short written by Dan Horrigan and Haven Taranta.
Uncertainty can sometimes provoke creativity. When the opening of Shereen Roushbaiani’s one-woman show, Saving Britney, at the Old Red Lion theatre was cancelled in January, its creators David Shopland and Roushbaiani, put together this online performance as a kind of taster for the live show, which now opens in May.
Mark Ravenhill’s new play Angela is a fragmentary sonic autobiography, both tender and occasionally fraught.
This film version of the Oscar Wilde classic The Picture of Dorian Gray is a brilliant critique of the digital age.
The Band Played On, the latest show from Chris Bush, is a tuneful celebration of stoicism, resilience and humour.
Typical, a film version of a powerfully poetic and painful 2019 monologue about institutional racism, is brilliant.
The latest example of this problematic switch from stage to screen is the strongly acted Shook, Samuel Bailey’s debut play, which won the 2019 Papatango New Writing Prize and had a run at the Southwark Playhouse in November of that year.
Yesterday I watched Skye Hallam’s excellent one-woman show, Heads or Tails, one of the headline acts at the new Living Record Festival. It’s a gently confessional monologue about the afterlife spoken by 25-year-old Steph, who has – as they say – been “taken too soon”.
I watched the streamed version of December, written and directed by Alexander Knott, and performed in the Old Red Lion Theatre and pub.
With S-27, the Finborough once again punches well above its weight, making another compelling contribution to the brave new world of streamed theatre.
The promise of being “urgent, responsive and fast” may not always be achieved, but at its very best the Royal Court’s Living Newspaper: A Counter Narrative is both pertinent and full of joyous energy.
Travis Alabanza’s play Overflow at the Bush Theatre is both tender in its empathy for the different kinds of trans experience and passionately angry about prejudice.
Misfits, from the Queen’s Theatre Hornchurch, comprises four excellent fractured monologues, written by Kenny Emson, Sadie Hasler, Guleraana Mir and Anne Odeke, which focus on Essex,
There’s plenty to enjoy in Little Wars’ jokes, and then, later on, the final harrowing monologues about the genocide are both powerful and deeply moving.
Originally commissioned as part of The Power Plays produced by Theatre Uncut in 2018, A Coin in Someone Else’s Pocket is a wonderfully thoughtful meditation on what it means to be a female Muslim writer.