Hilary Mantel and Ben Miles have combined a sizeable semi-fictional tome and the familiar historical story of Henry VIII, distilling them into a properly theatrical show with something new to say about this era and the humble man who, for 10 years, commanded a king.
‘This incredible play’: THE NORMAL HEART – National Theatre
Creating socio-political change and even recognition doesn’t just happen, somewhere, sometime, someone has to fight for it, and history is full of organisations who since the end of absolute monarchies (and arguably even before) have tried to make their voices heard.
‘Bringing Ferran & Thallon together for the first time is a masterstroke’: CAMP SIEGFRIED – Old Vic Theatre
Brought to life by two theatre actors on their way to a big career and finally united at the Old Vic, Ferran and Thallon are great now and are only going to get better – make sure you’re there to see it.
‘Entirely compelling’: THE MASTER BUILDER – BBC Sounds
Radio 4’s version of The Master Builder adapted by David Hare based on Torkil Heggstad’s translation takes a firmer line on the central character and the consequences of his poisonous behaviour, adding a fresh and topical perspective without overtly disrupting or rerouting Ibsen’s purpose.
‘Owes more to D.H. Lawrence & Patrick Hamilton than it does to Hollywood’: CAROUSEL – Regent’s Park Open Air Theatre
Taking a hard line on a troublesome musical is smart work and Sheader has given considerable thought to reconfiguring Carousel for twenty-first century audiences.
In a mini-season of nostalgic musicals looking back to mid-twentieth century song and dance styles, Carousel probably least deserves its cosy reputation. While the racial politics and untrammelled heroism of South Pacific is troubling, its love st…
‘Intriguing if not entirely satisfying’: THE TWO CHARACTER PLAY – Hampstead Theatre
This rare revival of The Two Character Play at Hampstead Theatre proves an interesting addition to works that reassess Tennessee Williams’ impact as a dramatist – an intellectual exercise if not an emotive one.
‘A fierce West End debut’: ANNA X – Harold Pinter Theatre
Who are we and who are the people we meet? These rather profound questions have, in one way or another, been at the heart of Sonia Friedman’s brief Re:Emerge season at the Harold Pinter Theatre which concludes with Anna X.
‘A meaningful experience’: THE DUMB WAITER – Old Vic
We may not have been able to see our fellow digital audience members but we knew they were there, making The Dumb Waiter feel like a communal event.
‘Completely irresistible’: HAIRSPRAY – London Coliseum
Fourteen months and four attempts later, Hairspray is finally back in the West End – the energy, sentiment and exhilaration of the show is completely irresistible.
‘Beautifully pitched adaptation’: UNDER MILK WOOD – National Theatre
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.
‘A significant step forward’: In the Heights plays its part in the evolving genre of movie musicals
As a modern movie musical, In the Heights employs many of its shot, direction and choreographic techniques to create a swirling visual experience that immerses the audience in the story.
‘Fagon’s astoundingly contemporary drama feels significant’: DEATH OF A BLACK MAN – Hampstead Theatre
Alfred Fagon’s fascinating two act drama opened at the venue in 1975 and while some of its gender attitudes may have dated, so much of Death of a Black Man feels as fresh and challenging now as it did 46 years ago.
‘A West End stage is exactly where this story belongs’: CRUISE – Duchess Theatre
Duchess Theatre, London – 13 June 2021 As theatres reopen, the long influence of digital forms is already making itself felt. Jack Holden’s new play Cruise premiered online last month via Stream Theatre and last week stole a march on its digital equivalents by becoming one of the first shows to open in the West End. The opportunities afforded by …
‘A tense & gripping two-hander’: THE BARN – Turbine Theatre (Online review)
The Barn is a gripping two act piece whose perfect storm of story, tone and character will be a must-see on stage before too long.
‘Ridley excels at these forensic character studies’: TARANTULA – Southwark Playhouse (Online review)
Tarantula isn’t perfect and is certainly too long but Ridley’s latest twin works have been ideally suited to the nature of hybrid theatre, utilising the intimate and seemingly one-to-one focus that only a camera can create while building on the energy and vibrancy of live performance.
The long aftermath of trauma is the subject of Philip Ridley’s latest monologue for Southwark Playhouse building on the writer’s established relationship with the venue and the sensational The Poltergeist which premiered last November to an online …
‘Offers a faithful reading with some contemporary resonance’: THE WINTER’S TALE – RSC / BBC Lights Up Festival (Online review)
The Royal Shakespeare Company joins forces with BBC4 for the world premiere of A Winter’s Tale, a production intended for the 2020 stage and all but lost to theatre history.
‘Not all subterfuge & double jeopardy’: A SPLINTER OF ICE – Original Theatre Company (Online review)
A Splinter of Ice moves away from a basic biography by mirroring its spy subjects and never allowing the audience to be quite sure which of its many faces is the real one.
‘Manages to be inherently theatrical & a successful movie experience’: ROMEO & JULIET (National Theatre / Sky Arts)
National Theatre and Sky Arts’ hybrid theatre and film production of Romeo & Juliet has been a fascinating experiment resulting in a smart, interesting and entirely collaborative piece of art.
‘Celebrating the breadth & creativity of the theatre industry’: THE MEANING OF ZONG / AFTERPLAY – BBC Sounds
The Meaning of Zong and Afterplay showcase the power of audio drama to transport an audience’s imagination and to see the familiar a little differently.
With light at the end of the tunnel for live performance and some of our biggest institutions announcing summer programmes at their venues, the BBC’s new Lights Up Festival has arrived at a moment of optimism, not just acting as a reminder of all …
‘The creativity & visual style really impress’: ASSEMBLY – Donmar Warehouse (Online review)
Assembly, the first production from the Donmar Local company, shows a lot of promise, combining an enthusiastic group of performers with a creative team eager to explore technical boundaries in the presentation of meaningful stories.