Although I have visited Brick Lane a number of times over the years, much of We Are Shadows: Brick Lane this was refreshingly new to me and the adventure was a delightful experience.
Simon Stephens and Juliet Stevenson create a perfectly beautiful and haunting installation for our times in The Blindness at the Donmar Warehouse.
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.
A rediscovered Edwardian problem play gives a clear picture of marriage and morals in a bygone era.
In Continuity, Gerry Moynihan explores the men’s fanaticism and the effects of their frustrated masculinity on their political beliefs.
This venue’s urgent response to the killing of George Floyd and the Black Lives Matter campaign is powerfully realised.
Alan Bennett writes that “I’ve always had a soft spot for George III”, for no better reason than that he had studied the monarch’s reign at secondary school and then again at uni.
The problem with creating theatre in an era of lockdown is that the constraints of working online tend towards a uniformity of creativity
We are living, I have frequently been told, through weird times. Maybe. But do weird times necessarily require weird art? Do bad times provoke bad art?
This revival of a 2011 HighTide hit, reconceived for streaming, stars Diana Quick and is intimate and quietly moving.
World on fire: The NT Live recording of this classic Young Vic production stars Gillian Anderson and is genuinely unmissable.
Lockdown occasionally spawns some real delights. Like the surprise appearance of a strange creature from the profoundest depths. One of these must be Andrew Scott’s superb performance in Simon Stephens’s Sea Wall.
Howard Brenton’s docu-drama about the harassment of the Chinese artist is imbued with fresh urgency and relevance.
The megahit NT Live version of this iconic tale of creative hubris features a dynamic acting duo, but it is not perfect.
Emma Rice’s version of Angela Carter’s last novel is a beautifully bizarre celebration of alternative families.
The BBC film version of a Renaissance rape trial is powerfully resonant, relevant and a riveting watch.
Gloriously surreal monologue about everyday anxieties in extraordinary circumstances: welcome back the glittering dark!
These shows, originally filmed as part of the flagship’s NT Live project, are now available on its YouTube channel. The first is Richard Bean’s gloriously silly farce, One Man, Two, Guvnors, starring the irrepressible and Tony-award winning James Corden.
This touring theatre’s new tartan gothic thriller is complex, but also a bit overwrought and conventional.
Theatre Uncut’s Bubble, a streamed film about social media and the woke generation is educational, but unexceptional.