If you want to see a My Fair Lady that feels like a scene for scene remake of the film, then this production at the London Coliseum will not disappoint, but equally for anyone looking for a more contemporary resonance beneath the surface, then that is certainly here as well.
As Jez Butterworth’s production returns to the West End, with original cast members Mark Rylance and Mackenzie Crook, it is interesting to reflect on how well-anointed modern classics fare more than a decade after they were originally feted.
The Young Vic presents a rather sexy version of Oklahoma! that replaces twee interpretations of cowboy country with a throbbing desire that inflicts the inhabitants of this rural town, and becomes a fascinating technical exercise in deconstructing a musical.
Jackie Sibblies Drury’s new play is an entirely female affair, no male characters are present, implied or even speak, only the time-travelling idea of Mary, her ghostly mother, Mary’s daughter and another tri-generational white family.
Mike Bartlett has made a bit of an art out of notions of the counter-factual future. In The 47th, he grounds his flights of fancy in the knowledge of institutions, people and political tides.
This wacky tale of faked miracles, town economics, mental health and social segregation is a puzzling one, combining some really great Stephen Sondheim songs and some strong female characters with a cartoonish plot.
Aaron Sorkin’s much-anticipated production of To Kill a Mockingbird may have had to exchange original British lead Rhys Ifans for the equally impressive Rafe Spall, but otherwise emerges relatively unscathed from its two-year delay.
Ivo van Hove puts aside his filmic style for an intimate monologue about the end of love. Starring Ruth Wilson, Jean Cocteau’s play The Human Voice, is a sympathetic study of a woman driven to distraction by a final phone call with her lover.
Theatre has always been a place to explore identity by using different character perspectives to consider points of view, social structures or inherited notions of what an individual can and should be.
The Woods feels decidedly old-fashioned in style and structure, using its characters as ciphers for David Mamet’s abstract conclusions about relationships between men and women.
Henry V is the greatest war play ever written and is the template for all literary responses to conflict since produced.
In Nadim Naaman and Dana Al Fardan’s new musical Broken Wings, there are plenty of soaring melodies for lovers and just as many haunted and broken-hearted ballads for the less romantic.
It has been an extraordinarily fruitful partnership between writer Florian Zeller and translator-playwright Christopher Hampton over the past few years with adaptations of Zeller’s disconnected family saga The Father, The Mother and The Son.
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.
Beautiful, sexy and luminous are words most associated with Hollywood starlets of the 1940s, 50s and 60s, and indeed they were, but they were also talented and savvy movie actors who commanded the screen.
Stephen Dolginoff’s 2003 musical Thrill Me: The Leopold and Loeb Story was the latest in a long line of cultural products inspired by this infamous murder case in 1920s America.
Force Majeure is a random act of God that cannot be predicted or measured that entirely disrupts planned activity, something we can all appreciate a little better in the past two years.
What is a play? A message to the future, a fart in your face or a pain in the arse?
What is a play? A message to the future, a fart in your face or a pain in the arse? Just a few of the suggestions that the writer clients of agent Peggy Ramsay offer up when a young ingenue asks that fatal question in her office one otherwise ordi…
With its interest in identity, ownership, tradition and the ‘rules’ applied to written rather than oral forms, Nell Leyshon’s play, which aired on Radio 3 in 2021, now earns a fully-staged run.
It has been another complicated year for theatres with venues unable to welcome in-person audiences for more than five months of 2021 and the tail end of the year returning to enforced closure and performance cancellations.