There is a disconnect between the direction and the script that permeates this production of Dirty Crusty at The Yard Theatre.
On Bear Ridge, Ed Thomas’ story of being left behind and trying to hold onto the memories that give us a sense of self, is crafted at the Royal Court Theatre with care and sensitivity.
There’s a lot to process in For All the Women Who Thought They Were Mad, and it requires active listening and embracing the unfamiliar, but it is visually striking, intimate and reflective.
In our continuing series, our editor Lisa Martland picks out some of her Top Picks from the last week of theatre (to 20 October 2019), ranging from Olivia Mitchell’s thigh-slapping joy on seeing Noises Off to Libby Purves’ plea that we listen to the story being told in [Blank] at the Donmar Warehouse.
The Ice Cream Boys is an informative glimpse into South African politics and racial issues but it’s not clear what message the audience is meant to take away.
Combined with the big questions it raises on compromising one’s beliefs, Mephisto [A Rhapsody] confronts classism, racism and lack of political action in the UK today, both in the arts and within the privileged but apathetic public.
Seeing a group of trans and non-binary people claim space like this in We Dig at Ovalhouse and openly share and reflect on the lives of trans people past and present is beautiful and important.
Before Jonathan Larson’s iconic musical Rent took the world by storm, there was the autobiographical show, Tick, Tick…Boom!
As a body of work, Caryl Churchill’s four plays Glass. Kill. Bluebeard. Imp complement each other well and offer a bold social commentary that is dark, foreboding and surreal.
Chiaroscuro is a relevant, moving production, addressing issues of sexuality and identity & focusing on characters that are often left out of theatrical narratives. It is a vital and vibrant contribution to contemporary theatre.
Though the design is superb, the kids are both adorable and excellent performers, and McGuiness’s work is solid, the appalling storyline of Big and its tone-deafness can get in the bin.
“Fame!” – we all know the infamous song. The lyrics, “I’m gonna live forever, I’m gonna learn how to fly, HIGH” are not well known just because of the original 1980 film, but because of the subsequent television series, film remake and musicals that followed.
Jade City is a powerful play confronting the consequences of the UK’s lack of social mobility and opportunity.
This portrayal of contemporary family life dealing with depression is honest and believable in The Son, yet there’s a cold judgement underpinning it.
Part gay, coming-of-age love story and part historical snapshot, James Corley’s debut play World’s End is a detailed character study but one that isn’t quite sure what it wants to say.
Tom Lenk is Trash is trash. That’s not even a cruel review, it’s literally what he told me to say. And after seeing the show, I am not going to be so stupid as to say anything he doesn’t want me to.
Three conspiracy theorists have gathered to unpick discrepancies and inconsistencies in the 1932 photograph ‘Lunch Atop a Skyscraper’ in Conspiracy.
Hot Flush is a great idea and there are some moments that really hit home, but while Hot Flush is far from a complete washout, it’s hard to be fully engaged.
Peter Taylor’s script beautifully utilises imagery and metaphor in River in the Sky at the Hope Theatre and the overarching concept is strong.
Lobster is charming and sweet, if rather naive, making for a refreshing take on the cesspit that is dating by app today.