Brought to life by two theatre actors on their way to a big career and finally united at the Old Vic, Ferran and Thallon are great now and are only going to get better – make sure you’re there to see it.
Radio 4’s version of The Master Builder adapted by David Hare based on Torkil Heggstad’s translation takes a firmer line on the central character and the consequences of his poisonous behaviour, adding a fresh and topical perspective without overtly disrupting or rerouting Ibsen’s purpose.
Taking a hard line on a troublesome musical is smart work and Sheader has given considerable thought to reconfiguring Carousel for twenty-first century audiences.
In a mini-season of nostalgic musicals looking back to mid-twentieth century song and dance styles, Carousel probably least deserves its cosy reputation. While the racial politics and untrammelled heroism of South Pacific is troubling, its love st…
This rare revival of The Two Character Play at Hampstead Theatre proves an interesting addition to works that reassess Tennessee Williams’ impact as a dramatist – an intellectual exercise if not an emotive one.
Who are we and who are the people we meet? These rather profound questions have, in one way or another, been at the heart of Sonia Friedman’s brief Re:Emerge season at the Harold Pinter Theatre which concludes with Anna X.
We may not have been able to see our fellow digital audience members but we knew they were there, making The Dumb Waiter feel like a communal event.
Fourteen months and four attempts later, Hairspray is finally back in the West End – the energy, sentiment and exhilaration of the show is completely irresistible.
Making Under Milk Wood a story within a story is a risk but one that pays off, adding a tender father-son connection that ties that multifaceted sprawl of Dylan Thomas’ story together.
As a modern movie musical, In the Heights employs many of its shot, direction and choreographic techniques to create a swirling visual experience that immerses the audience in the story.
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.