If anything, the resonances in Mike Bartlett’s Albion have grown and strengthened as countrywide divisions have hardened.
The series of monologues under the collective title The Greatest Wealth was first performed at The Old Vic Theatre in 2018 as part of the celebrations for the 70th anniversary of the founding of the NHS.
While an online Edinburgh Festival Fringe can hardly claim to have anything like the same degree of atmosphere, various organisers are to be congratulated with getting a variety of material online.
This is Measure For Measure in a production by RSC supremo Greg Doran and set in turn of the 20th century Vienna. It is and remains a difficult play to pin down but the contemporary resonances remain inescapable.
The first piece Moment Of Grace by Bren Gosling takes us back to the 1980s and the last time the country faced a crisis over a virus.
One of the early entries into the lockdown theatre world was Breach Theatre’s It’s True. It’s True. It’s True: Artemisia On Trial. After some time on furlough it’s now back online and available to watch again.
Place Prints is a fascinating audio series from writer David Rudkin about places in the UK. There are certain locations where that sense of the past is much stronger than in others. These places have their own stories and voices and Rudkin tells them with a sense of lyricism from which contemporary writers might well learn.
Jane Clegg falls into the category of a well-made play of three acts and is none the worse for that. Its elegant structure and growing sense of tension make it an absolute pleasure to watch.
In Approaching Empty writer Ishy Din proves himself an authentic voice, telling tales we have not heard before in a muscular and engaging style.
So, bravo National Theatre. Others may have joined in the home streaming trend but nobody else did it bigger or better. Time to look for yet another new normal for Thursday evenings.
Young writers and performers take a long hard look at climate change with entertaining results in Almeida Theatre’s digital season Shifting Tides.
The Tell-Tale Heart and Within from Threedumb Theatre are to be applauded for their innovation and their ability to show us that there’s life left in the old (drama) dog yet.
Sixteen weeks ago the National Theatre At Home season was launched and this week the final show began its one week run. In Amadeus they may just have saved the best until last.
Great Apes, originally written by Will Self and adapted for the stage by Patrick Marmion, played at east London’s Arcola Theatre in 2018 and is now available to stream online.
I noticed that there were a pair of Half Moon Theatre productions – Guantanamo Boy and her – which involved Brolly, a collaboration between designer/illustrator Rachana Jadhav and writer/director Dominic Hingorani for whom design is a key element and who integrate live performance with digital technologies.
The Tailor-Made Man was turned into a musical in 2013. This current iteration was filmed in 2017 at the White Bear Theatre when a 25th anniversary production was mounted.
In the case of The Deep Blue Sea I find myself firmly sitting on the fence. Good performances? Mostly. Fine production? Mainly. Great play? The jury’s still out.
Mood Music is a timely piece of writing highlighting, as it does, questions of creativity, control, ownership, capitalism and personal well-being.
Like the virus, Spymonkey’s brand of comedy in shows like Oedipussy has proved highly infectious over the last couple of months but at the same time it has also become a regular weekly vaccine against the blues.
This was the production of Lungs live streamed from the actual stage of the Old Vic with real actors in real time as part of its In Camera project.