Alfred Fagon’s fascinating two act drama opened at the venue in 1975 and while some of its gender attitudes may have dated, so much of Death of a Black Man feels as fresh and challenging now as it did 46 years ago.
Duchess Theatre, London – 13 June 2021 As theatres reopen, the long influence of digital forms is already making itself felt. Jack Holden’s new play Cruise premiered online last month via Stream Theatre and last week stole a march on its digital equivalents by becoming one of the first shows to open in the West End. The opportunities afforded by …
The Barn is a gripping two act piece whose perfect storm of story, tone and character will be a must-see on stage before too long.
Tarantula isn’t perfect and is certainly too long but Ridley’s latest twin works have been ideally suited to the nature of hybrid theatre, utilising the intimate and seemingly one-to-one focus that only a camera can create while building on the energy and vibrancy of live performance.
The long aftermath of trauma is the subject of Philip Ridley’s latest monologue for Southwark Playhouse building on the writer’s established relationship with the venue and the sensational The Poltergeist which premiered last November to an online …
The Royal Shakespeare Company joins forces with BBC4 for the world premiere of A Winter’s Tale, a production intended for the 2020 stage and all but lost to theatre history.
A Splinter of Ice moves away from a basic biography by mirroring its spy subjects and never allowing the audience to be quite sure which of its many faces is the real one.
National Theatre and Sky Arts’ hybrid theatre and film production of Romeo & Juliet has been a fascinating experiment resulting in a smart, interesting and entirely collaborative piece of art.
The Meaning of Zong and Afterplay showcase the power of audio drama to transport an audience’s imagination and to see the familiar a little differently.
With light at the end of the tunnel for live performance and some of our biggest institutions announcing summer programmes at their venues, the BBC’s new Lights Up Festival has arrived at a moment of optimism, not just acting as a reminder of all …
Assembly, the first production from the Donmar Local company, shows a lot of promise, combining an enthusiastic group of performers with a creative team eager to explore technical boundaries in the presentation of meaningful stories.
When we left 1 and A in Episode 14 of Athena Stevens’ Late Night Staring at High Res Pixels they were both in some kind of moral and emotional jeopardy, and it seemed appropriate on International Women’s Day to return to this nuanced and considered exploration of female agency, solidarity and behaviour.
Late Night Staring at High Res Pixels has already become a gripping anatomy of relationships and the attempts to manipulate two quite different women.
With a charitable donation for every digital ticket sold going to Women for Refugee Women, Little Wars is still an all too rare experience – a play that puts women at its centre without focusing specifically on ‘women’s issues’.
Festivals are a vital part of the theatre ecosystem, a place to try out new material, explore form and style while giving a valuable platform to all kinds of performance. These activities have been among the hardest hit during the period of closur…
The RSC, Young Vic and Theatre for a New Audience have a difficult but fascinating task ahead in re-creating lost work Swingin’ the Dream that honours the original while offering something new to modern audiences.
With director Stanley Kramer’s making of the groundbreaking film Guess Who’s Coming to Dinner as its subject matter, Tracy-Ann Oberman and David Spicer’s new radio drama has a compelling contemporary relevance.
Curve Leicester’s Sunset Boulevard certainly offers ‘new ways to dream,’ proving a beautiful and fitting finale to a year of considerable change for theatre.
Integral to the festive Birmingham experience, the chance to watch this delightful production of The Nutcracker from home is a rare silver lining in an otherwise troubled month for the performing arts.
Andrew Lincoln brings a real gravitas to proceedings in A Christmas Carol, anchoring the production and delivering a performance of variety and skill that will leave you hoping he returns to the stage more often in the future.
Filled with a real love of Dickens’ words as well as his characters the Bridge Theatre has found a fresh and exciting way to tell the familiar tale of A Christmas Carol and give Scrooge’s redemption arc a renewed emphasis.
Philip Ridley’s play The Poltergeist made an intimate transition to the screen and will be unmissable as soon as live performances can be scheduled.