Gripping performances from Clive Owen and Lia Williams, and James Macdonald’s slow-burn direction allows Tennessee Williams’ writing in The Night Of The Iguana to cast its spell.
The staging and orchestration of the Palladium’s new version of Joseph & The Amazing Technicolor Dreamcoat looks to the future, as a whole new set of children fall in love with this perennial musical.
In The End of History Thorne shuffles various perspectives within the family, examining their different experiences of the same events from multiple angles, and while these differences drive wedges between them, ultimately and with hope for the future, he explores the ties that keep people together.
The Old Vic’s production of Present Laughter finally feels as though we’re shaking off some of the restraints that have shackled Noel Coward to the past.
Bitter Wheat is not only frustratingly irresponsible in its treatment of the events that led to the #MeToo movement, it is also a poorly constructed drama.
It is the slight rearrangement of the text and its implication for the female characters that is Nicholas Hytner’s most notable achievement here in A Midsummer Night’s Dream at the Bridge Theatre.
However light its frame, ultimately Education, Education, Education has serious points to make about the short-termist approaches to education funding used cynically as a political tool to win voters.
Femi Elufowoju Jr’s production of The Glass Menagerie is fascinating with the tense and vibrant second half in particular proving both gripping and illuminating
Thornton Wilder’s writing in Our Town feels as fresh and innovative as it must have done in the 1930s and taking an early season risk on a less conventional play ultimately pays off.
Even a middling Tennessee Williams play – Orpheus Descending – is better than most, and this one still has plenty to say about sacrifice and suffocation in small-town America