The Night Watch, adapted by Hattie Naylor, is The Original Theatre Company and York Theatre Royal’s production of Sarah Waters’ 2006 novel of the same name.
Losing Venice at the Orange Tree Theatre is a remarkable rediscovery by this ever-enterprising venue and is a well-crafted and elegantly written curiosity.
There’s a strong current of emotional truth running through the storms in Henry Darke’s debut play, Booby’s Bay, at the Finborough Theatre. Perhaps less comic than it should be, and certainly not problem-free, this is definitely a strong debut.
The plot kicks off with disarming simplicity. Alastair is a rich fortysomething legal eagle, married to Antonia, who is a housewife. They live in a beautiful London house with Jack, one of their three sons, who has a learning disability.
n Sarah Page’s production of Punts, the roles played by the two women are not the stereotypical ones we expect. This is a show about acceptance and tolerance, wrapped up in a somewhat comical storyline, written with a keen eye that cuts away at the bullshit of life’s fake pleasantries.
I enjoyed Stuart Slade’s BU21 massively when it played the Theatre503 early last year but I hadn’t intended to revisit the show – sometimes the memory of it is plenty sufficient.
Stuart Slade’s BU21 has transferred to the West End’s intimate Trafalgar Studios. The ideal setting for a piece that showcases the spectrum of human emotion in the aftermath of a fatal terrorist attack.
Powerful new play about a terror attack on London has strong passages, but is a bit too frantically humorous.