Watching Mike Bartlett’s play Cock today, it seems strange to think that it was actually written 13 years ago, as it covers themes that are so resonant with life in 2022.
Mike Bartlett’s Cock invites suggestive comments, but the main thing about the play is that it has proved to be a magnet for star casting.
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.
Bizarre, beautiful and breathtaking – time-travelling fantasia boasts a brilliant staging and a spoof playtext essay.
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.
There is no one quite like debbie tucker green and her new play ear for eye, no one writing with the same urgency, disquiet and plain brilliance for adjusting and changing forms.
Covering both contemporary experience and historical background, debbie tucker green’s Ear for Eye at the Royal Court feels like an instant classic. But it’s not an easy watch.
Love, we know, will tear us apart again. And again. And yet again. It will shred our nerves and rip through our guts; it will fill us with anguish, and then douse us in regrets.
Alistair McDowall’s follow up to his big 2014 hit Pomona is less dazzling, but more emotionally desolate and ambiguous.