Waiting For The Ship To Sail is a worthwhile reminder that while our minds and our media may currently be focused on one crisis, that doesn’t mean other, equally urgent, issues have gone away.
Written by Dameon Garnett in response to the ongoing debate around free speech, Sticks and Stones is a fascinating two-hander that explores how we talk about issues of race, class and privilege in 2020 Britain.
Meat is an intense and thoughtful play, which doesn’t spoon feed answers to its audience but instead poses a set of questions and leaves us to process them in our own way and within the frame of our own experiences.
In our continuing series, editor Lisa Martland picks out some of her Top Picks from the last week of theatre (to 23 February 2020), including Aleks Sierz’s thoughts on the Bridge Theatre’s timely revival of Caryl Churchill’s 2002 play A Number
It’s great to see how Netflix and Chill has grown and the important message that now comes through loud and clear about male mental health and the responsibility we all have to encourage frank and open conversation.
In our continuing series, editor Lisa Martland picks out some of her Top Picks from the last week of theatre (to 9 February 2020), including Ian Foster seeing Rafe Spall give a career-defining performance in the National Theatre’s production of Death of England.
If you’ve ever wondered how this particular legend was born, the play Chaplin: Birth of a Tramp offers a fascinating, entertaining and surprisingly poignant way to find out.
In our continuing series, our editor Lisa Martland picks out some of her Top Picks from the last week of theatre (to 2 February 2020), ranging from Ian Foster’s praise of the Orange Tree Theatre’s fine revival of Lucy Prebble’s first play The Sugar Syndrome.
As the Brexit debate continues to rage on, Harry Darell’s timely new play For The Sake of Argument considers the ways in which language can be used for both better and worse,
As a slightly weary Twelfth Night veteran, personally I enjoyed this more sombre adaptation of the play, which remains accessible to newcomers while offering a fresh perspective to those who’ve seen it before.
The content of Lullabies for the Lost and The Delights of Dogs and the Problems of People is intensely real and raw and shines a spotlight on a variety of mental health issues in a very personal but accessible way.
Pan Productions’ unique and memorable adaptation of Oscar Wilde’s classic The Importance of Being Earnest is the company’s first production in English, its cast being made up entirely of immigrants whose first languages include French, Turkish and Greek.
As always, Chickenshed’s Christmas show Snow White is a festive treat that’s guaranteed to warm your heart and send you home feeling a little bit better about the world. Who can say no to that?
In our continuing series, our editor Lisa Martland picks out some of her Top Picks from the last week of theatre (to 2 December 2019), ranging from The Blog Of Theatre Things’ Liz Dyer feeling festive thanks to a joyful production of White Christmas at the Dominion Theatre.
Before long the stage is overflowing with so much joy, romance and goodwill to all that ultimately, much like the snow song, this White Christmas proves impossible to resist.
Kathryn O’Reilly’s second play Poisoned Polluted focuses on the fragmenting relationship between two women – in this case, sisters.
In our continuing series, our editor Lisa Martland picks out some of her Top Picks from the last week of theatre (to 27 October 2019). Maryam Philpott is gripped by the work of Claire Foy and Matt Smith in Lungs at The Old Vic…
While this reimagining of Gaslight doesn’t necessarily deliver on all its promises, the production does successfully highlight the continuing relevance of both the story and its core issue.
Based on a true story, Kate Barton’s play Fast invites its audience into the disturbing world of “Dr” Linda Hazzard (Caroline Lawrie), whose controversial fasting diet method claimed the lives of multiple patients in the early 20th century.
As with any dystopian drama, the central idea of Florence Bell’s The Open – the GBGC itself – sounds far-fetched, but the foundations on which it’s built aren’t all that implausible.