This new play about refugee-camp life in Calais is a gruelling docu-drama, powerful but oh so middle class!
Go goats! New play about truth and lies in the Syrian conflict is upstaged by its animal performers.
Award-heavy American play about the Oslo Accords is informative, moving and highly entertaining.
Is God female? It says a lot about Yaël Farber’s pompous and overblown new version of this biblical tale at the National Theatre that, near the end of an almighty 110-minute extravaganza, all reason seemed to have vacated my brain, and its empty halls, battered by a frenzy of elevated music, heaven-sent lighting and wildly gesturing actors, were suddenly open to the oddest ideas.
At a time when everyone is talking about globalization, when this is an issue in every election, plays about the international reach of European countries are still quite rare. So it’s great to be able to see two recent dramas that give some sense of how difficult it is to grasp the bigger picture in all its complexity.
New epic about mothers and daughters in the age of oil is wonderfully ambitious, but deeply unhistorical.
Howard Brenton’s new study of desert warrior T E Lawrence is more like a frustrating mirage than a nourishing oasis.