Theatre Uncut’s Bubble, a streamed film about social media and the woke generation is educational, but unexceptional.
Shoe Lady at the Royal Court is not the most involving play in the world, but it does have an evocative resonance.
Gerald Moon’s 1983 comedy-thriller, Corpse!, is a typical example of a style of writing about murder that is entertaining in its plotting, but offers little else of dramatic pleasure.
A verbatim piece about the subject of transatlantic deportation, The Special Relationship is a well researched, strongly contemporary piece.
Frantic Assembly’s new show I Think We Are Alone is thematically coherent, but the writing is too explicit and the staging too static.
In our continuing series, editor Lisa Martland picks out some of her Top Picks from the last week of theatre (to 1 March 2020), ranging from Love London Love Culture’s thoughts on David Mitchell’s West End debut in the stage adaptation of TV favourite Upstart Crow at the Gielgud Theatre.
In the era of Brexit, and the government’s new immigration proposals, Tim Cowbury’s The Claim feels suddenly even more relevant.
Despite its absurdist style, Pass Over is a political play whose message is indisputable. The evening is a powerful mixture of male camaraderie, brutality and almost casual defiance.
If the intimate play A Number feels a bit lost in the vast space of the Bridge, the performances are big enough to give it the required punch.
In our continuing series, editor Lisa Martland picks out some of her Top Picks from the last week of theatre (to 16 February 2020) including Maryam Philpott’s thoughts on Tom Stoppard’s new play Leopoldstadt at the Wyndham’s Theatre.
This well-focused revival of Caryl Churchill’s, brief dystopic classic Far Away is vivid but frankly unexceptional.
If neither newspapers nor intelligence services will lose sleep over the way Blyth represents them, The Haystack is insightful enough to be a contemporary state-of-the-nation parable.
In our continuing series, editor Lisa Martland picks out some of her Top Picks from the last week of theatre (to 9 February 2020), including Ian Foster seeing Rafe Spall give a career-defining performance in the National Theatre’s production of Death of England.
A new monologue about rage, racism and national identity, Death of England at the National Theatre is magnificent in its fury and perception.