James Graham’s latest history play has an eye on the present but a messy staging.
Race, rage and relevance: sensitive revival of American writer Alice Childress’ 1955 anti-racist play shines bright.
Moira Buffini’s ambitious state-of-the-nation, climate-change play runs straight into the doldrums.
One of the absolute highpoints of new writing in the past couple of years has been the Death of England trilogy.
Al Smith’s new play was jinxed before it started – and, bogged down in cartoonish detail, it never really recovers.
Intense, but inconclusive: this powerful new play about black men’s mental health fails to reach a satisfying resolution.
I had a mind-expanding experience this week. And, listen, there’s still a chance for you to have one too.
Powerful, poetic and profound: this well-deserved winner of the 2020 Papatango New Writing Prize now gets a cracking production on the main stage at the Bush Theatre.
Saoirse Ronan makes her UK stage debut in Yael Farber’s testosterone-fest, which is vivid, but much too long.
This new coproduction between Graeae and Tamasha is not perfect, but it offers a moving insight into ritual and belief.
This is a labour of love. Hilary Mantel has adapted The Mirror and the Light, the third novel of her Tudor trilogy, in collaboration with actor Ben Miles.
Bess Wohl’s history play is an imaginatively-written, brilliantly chilling and resonant account of life at a Nazi summer camp, starring Patsy Ferran and Luke Thallon.
American playwright Aleshea Harris’ dazzlingly satirical 2018 extravaganza is about two women seeking justice and getting even, and it comes to the Royal Court from New York, trailing shouts of enthusiasm.
I remember seeing Shelagh Stephenson’s contemporary classic at the Hampstead, when this venue was still an ageing prefab, and enjoying Terry Johnson’s racy staging,
At its best, the subjective and poetic image creation in Rockets and Blue Lights at the National Theatre is both audacious and striking. At its worst, it is over-complex, confusing and overly didactic.
The Young Vic’s main stage reopens with Booker Prize winner Ben Okri’s short play Changing Destiny, directed by Kwame Kwei-Armah
The great thing about Lucy Bailey’s 80-minute production of Oleanna is its sense of balance. And I have to say that it changed my mind about the power balance in the drama.
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.