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.
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.