Love London Love Culture’s Emma Clarendon takes a look at what critics have had to say about this new play at London’s Royal Court Theatre.
if you buy a ticket you will not see That Is Not Who I Am by Dave Davidson (who doesn’t exist), but instead you will experience Rapture by Lucy Kirkwood, who is an established playwright. It’s a kind of postmodern, post-truth gimmick. But does it work?
Animal behaviour but within a human framework. This is a powerful new play from Ruby Thomas at Hampstead Theatre.
The promise of being “urgent, responsive and fast” may not always be achieved, but at its very best the Royal Court’s Living Newspaper: A Counter Narrative is both pertinent and full of joyous energy.
Female friendship is such a fickle, flighty thing so difficult to get right, and Miriam Battye nails both its positives and negatives in Scenes With Girls.
Scenes with Girls at the Royal Court is like an exciting blast of fresh air blowing through the often stale world of contemporary new writing.
You enter dark places when you enter the Royal Court and sometimes that can be enthralling and exhilarating. But there needs to be some kind of uplift. Sadly this time, it wasn’t present.
An overwhelmingly powerful new play about motherhood and psychological collapse: Lesley Sharp amazes in The Woods at the Royal Court Theatre.
Love London Love Culture rounds up the reviews for Lucy Morrison’s production of The Woods now playing at the Royal Court Theatre.
As the topic of sexual abuse and harassment continues to make international headlines following numerous allegations involving Hollywood and theatre producer Harvey Weinstein, the Royal Court Theatre has announced day of action in response. The free day’s programme – held on Saturday 28 October 2017 – will include a sharing session from 12 to 5pm, including curated online submissions, in the …
Once upon a time, quite recently, you couldn’t move for plays about youth. Now, there’s been an avalanche of dramas about ageing, usually in the context of dementia and family life. Maybe all of our main playwrights have suddenly grown up, or maybe the endless quest for novelty has deposited us on the shores of the current trend-setting idea. Nicola Wilson’s Royal Court debut is yet another play about Alzheimer’s, ageing and memory, but is it any different from Florian Zeller’s The Father, April de Angelis’ After Electra or Emma Adams’s Animals?