The twin themes of social justice and climate activism are explored in this piece from Fehinti Balogun/Complicité.
Amy Berryman’s ambitious debut play Walden about siblings, climate change and space travel is full of ideas, but what happened to the emotions?
If the West End has faced an existential crisis thanks to the pandemic, American playwright Amy Berryman’s debut play Walden portrays the entire world having one.
I really wanted to like Walden, it was my first trip to the theatre since they were last open in early December, but it just didn’t deliver the promised tension and drama.
RE:EMERGE, a collection of new plays curated by Sonia Friedman Productions alongside Ian Rickson (artistic director for the season), is due to open to socially-distanced audiences from May at London’s Harold Pinter Theatre.
This venue’s urgent response to the killing of George Floyd and the Black Lives Matter campaign is powerfully realised.
Tanya Barfield’s Blue Door is a dense, thoughtful 85-minute work that sometimes purrs in the Ustinov Studio.
The notion that Michael Fentiman’s The Importance of Being Earnest has ruffled a few feathers by daring to do something different, plus the kind of casting that I could never resist, meant that I had to see for myself.
In Michael Fentiman’s strictly period production, it’s hard to see what we’re meant to care about, and what is supposed to resonate with us. It’s a pleasant enough thing, but there’s nothing particularly groundbreaking about it.
Classic Spring’s Wilde Season has been a huge success and this is a joyous, irreverent and enjoyable production to finish the run.
The Importance of Being Earnest at the Vaudeville Theatre is great fun. Though I can’t think what Oscar’s audience would have said about Algy pinching Jack’s bum.
Reviewing in list form: for and against Christopher Shinn’s new play AGAINST, starring Ben Whishaw and Amanda Hale, at the Almeida Theatre.