This lively revival of Steven Berkoff’s 1975 modern classic is energetically sweaty, if a bit messy as well.
It is one of the strengths of Ukrainian playwright Natal’ya Vorozhbit’s savage war play, Bad Roads, translated by Sasha Dugdale and part of the Royal Court’s autumn international season, that she shows not only what war is like for women, but also its corrosive effects on masculinity.
From its haunting title, to its moments of explosive dialogue, this is a modern classic, which when it was first staged won Mamet the Pulitzer Prize. Set in Chicago, it shows a group of slick hustlers who have to sell tracts of indifferent Florida real estate.
Stage version of dystopian classic returns — it’s lively and fun, but also cartoon-like and unmoving.
Twentieth anniversary revival of Yasmina Reza’s contemporary classic is well acted, but conservative.
Al Smith’s debut play about love, perversion and memory is both electrifying and emotionally satisfying.
David Hare’s latest is a superb adaptation of a Simenon thriller that is set in the United States.
New epic about mothers and daughters in the age of oil is wonderfully ambitious, but deeply unhistorical.
The metaphor of mountain climbing resonates with the crisis of masculinity in new sex-war drama.
Two actors share the roles of scholar and tempter in a pacy production that brilliantly conveys joy in transgression.
Scottish Gogol adaptation is a thrillingly contemporary account of damaged masculinity and national identity.
Trio of monologues about suicidal masculinity roars its way through the theatre and burrows deep inside your mind.