Dennis Kelly’s 2005 play After The End is set inside a nuclear fallout shelter, so it is not surprising that it deals with situations beyond the boundaries of what passes for normality.
With all its effortful but pointless violence, Dennis Kelly’s After the End leaves me cold at the Theatre Royal Stratford East.
It may be the second time in as many years that Caryl Churchill’s A Number has been performed in London, but it is a play that bears restaging, yielding greater insights every time you see it.
On LoveLondonLoveCulture, Emma Clarendon rounds up the reviews for the latest revival of Caryl Churchill’s two-hander A Number, now starring Lennie James at Paapa Essiedu at the Old Vic Theatre until 19 March 2022.
The National Theatre’s staging of Under Milk Wood is far from the first time Dylan Thomas’ poem has been adapted for the stage. It’s easy to see the temptation to perform a work so packed with characters, drifting through a strange, semi-mythical setting encountering one another.
Making Under Milk Wood a story within a story is a risk but one that pays off, adding a tender father-son connection that ties that multifaceted sprawl of Dylan Thomas’ story together.
The Old Vic has announced its Back Together season, the seventh from artistic director Matthew Warchus, which will run from July 2021 to July 2022 and combines both streamed and live shows.
The Stage has unveiled its annual The Stage 100 list. The list has been re-imagined this year to celebrate individuals who have gone above and beyond in helping theatre survive the biggest crisis the industry has ever faced.
If the intimate play A Number feels a bit lost in the vast space of the Bridge, the performances are big enough to give it the required punch.
Churchill’s vision two decades ago in Far Away now seems even more prescient and accurate of planet Earth’s downhill spiral: endless wars and realignments, climate change, imminent environmental catastrophe.
Caryl Churchill wrote Far Away in 2000 and, 20 years on, it feels more current by the moment.
This well-focused revival of Caryl Churchill’s, brief dystopic classic Far Away is vivid but frankly unexceptional.
I’m coming to Caryl Churchill’s Top Girls (1982) afresh. Well, sort of. I read the play a few years ago, but I’ve not seen it and wasn’t born until 10 years after its original production at the Royal Court.
Love London Love Culture rounds up the reviews for Lyndsey Turner’s revival of Caryl Churchill’s play Top Girls.
Enjoyably high-definition revival of Caryl Churchill’s 1982 feminist classic Top Girls gets the National’s big-stage treatment.
The fourth instalment in Jamie Lloyd’s consistently enjoyable season of Harold Pinter’s short plays contrasts plays from either end of the writer’s career.
Like ripping off a dramatic plaster, now that I’ve done one show’s worth of Harold Pinter it’s time to plunge headfirst into another. Pinter Three down, Pinter Four to go.
Initial casting for the National Theatre’s production of Caryl Churchill’s Top Girls includes Liv Hill (Angie), Katherine Kingsley (Marlene), Wendy Kweh (Lady Nijo), Amanda Lawrence (Pope Joan), Ashley McGuire (Dull Gret), Ashna Rabbheru (Kit) and Siobhan Redmond (Isabella Bird).
Rufus Norris has unveiled the National Theatre’s plans for 2019 and beyond. Highlights include the world premiere of Small Island adapted by Helen Edmundson from Andrea Levy’s novel, directed by Rufus Norris.
Director Lyndsey Turner is clearly impatient with the tradition of playing this melancholy drama as a tribute to Chekhov, and her production is thoroughly anti-naturalistic.