In our continuing series, our editor Lisa Martland picks out some of her Top Picks from the last week of theatre (to 19 January 2020), including Aleks Sierz’s view that the new production of Les Misérables at the Sondheim Theatre is marching on to victory.
With no topic too grim, too unsettling or embarrassing, Lullabies for the Lost gives a voice to the unsayable and has insights to spare about the human condition.
The Invisible Man manages to combine both panto and more serious fare, bringing a modicum of seasonal mirth to a tale about the darker side of human nature.
Asides from being a love letter to the NHS, Tania Amsel’s Blood Orange makes clear how stressful and demanding on one’s mental health working in the caring professions is.
The Wind Of Heaven at the Finborough Theatre is spot on, with the principal characters living within the skin of their respective roles.
In our continuing series, our editor Lisa Martland picks out some of her Top Picks from the last week of theatre including Ben Dowell (for theatreCat) giving his verdict on the much-anticipated arrival of Dear Evan Hansen at the Noel Coward Theatre.
The current production of Uncle Vanya which is touring with Theatrical Niche stays true to the spirit of its origins, while also fleshing out aspects that resonate today.
Adapted by Caridad Svich from Isabel Allende’s award-winning novel and directed by Paula Paz, The House of the Spirits is as much the history of a nation as a family drama. While the country of the play is ‘unnamed’, for those in the know the parallels…
Directed by James O’Donnell, Frank McGuinness’ The Match Box is an in-depth examination of parental grief.
Writer Sarah Rutherford cleverly weaves together disparate elements of a sensitive story with subtlety and humour in The Girl Who Fell.
As Matthew Parker’s swansong as artistic director at the Hope Theatre, The House of Yes isn’t afraid to show the underbelly of ‘respectable society’.
One might be forgiven for thinking that Danelaw would be unrelentingly bleak, but in truth the play is a satire and doesn’t avoid the more absurdist elements of storytelling.
Written by Paloma Pedrero – Spain’s most prolific playwright in the 21st century – and directed by Simone Coxall, The Eyes Of The Night makes its UK premiere at the Cervantes Theatre in London.
Written by Paul Westwood and directed by Clemmie Reynolds, Skin In The Game is a family drama with a difference.
River in the Sky shows that even for those dealing with the ramifications of fertility issues, speaking frankly and directly is seldom on the cards.
First performed in 1970, Tricia Thorns’ revival of Philip King’s Go Bang Your Tambourine is remarkably the first time the play has ever been performed in London
Ask people below a certain age what palliative care is and there might not be recognition for the term. But as one gets older, and family and friends succumb to the effects of time, there is greater awareness of end-of-life care – an appreciation of its importance.
In Tegan McLeod’s play Lunatic 19’s, which is directed by Jonathan Martin, we meet a young woman of Hispanic descent who happens to be at the ‘wrong place at the wrong time’.
Written by Anthony Neilson – himself a theatrical bête noire in terms of his fearless probing at the underbelly of sexuality – and directed by Imogen Beech, The Censor is as much a ‘battle’ as a dialogue of between ideologies regarding the nature of sex itself.
Written by Tuyen Do and directed by Kristine Landon-Smith, Summer Rolls focuses on an ‘invisible’ demographic – the Anglo-Vietnamese.