At best Baghdaddy at the Royal Court Theatre is a surreal trip into traumatic memory, at its worst it’s a self-indulgent mess. If you think that American crime are worse than Saddam’s you’ll love this show; if you like playwrights wagging their finger at you, you’ll love this show; if you believe that parental trauma can be inherited and then self-consciously joked about, you’ll love this show.
Identity is the sum of the stories we tell ourselves. Some of these are personal, and some political. Sometimes they blend, sometimes clash. In Aaron Kilercioglu and Bilal Hasna’s excellently staged and thought-provoking For a Palestinian, the performer and co-author Hasna tells two stories: one about himself and his new love for Palestine, and the other about the Palestinian activist and translator Wa’el Zuaiter, and his love affair with Australian-born painter Janet Venn-Brown. Her 2006 book, For a Palestinian, tells the story of Zuaiter and his assassination in Rome in 1972 by Mossad.
One of the absolute highpoints of new writing in the past couple of years has been the Death of England trilogy.
Intense, but inconclusive: this powerful new play about black men’s mental health fails to reach a satisfying resolution.
This new coproduction between Graeae and Tamasha is not perfect, but it offers a moving insight into ritual and belief.
Harm, which has already been screened on BBC Four with Leanne Best, is a new monologue by Bruntwood Prize-winning playwright Phoebe Eclair-Powell and now the one-woman show stars Kelly Gough, familiar most recently from the BBC’s Casualty.
The Band Played On, the latest show from Chris Bush, is a tuneful celebration of stoicism, resilience and humour.
Typical, a film version of a powerfully poetic and painful 2019 monologue about institutional racism, is brilliant.
Travis Alabanza’s play Overflow at the Bush Theatre is both tender in its empathy for the different kinds of trans experience and passionately angry about prejudice.
Philip Ridley’s play The Poltergeist made an intimate transition to the screen and will be unmissable as soon as live performances can be scheduled.
A tour de force performance (mark Joseph Potter as one to watch) in a brilliant monologue on an empty stage, you will not want to miss Philip Ridley’s The Poltergeist.
This is a masterly revival of An Evening with an Immigrant, Inua Ellams’ 2016 autobiographical one-man show which is both poetic and engaging.
The Bridge Theatre’s most savvy decision is in teaming The Shrine with Bed Among the Lentils, placing together two of our finest actors who effortless and regularly transition between stage and screen – Monica Dolan and Lesley Manville.
Jimbo is 12 and on the cusp of young adulthood. Both his body and his mind are confused about its identity and the world around him is not much help.
This venue’s urgent response to the killing of George Floyd and the Black Lives Matter campaign is powerfully realised.
The problem with creating theatre in an era of lockdown is that the constraints of working online tend towards a uniformity of creativity
Gloriously surreal monologue about everyday anxieties in extraordinary circumstances: welcome back the glittering dark!
Meet Red Peter, the character at the heart of the award-nominated Camden Fringe Festival hit, which returns to London for a March run at the VAULT Festival. Time to book your tickets!
Grid Theatre’s acclaimed staging of Red Peter, an award-nominated hit at the 2019 Camden Fringe Festival, will head back to the capital later this spring for a short run at the VAULT Festival. Book your tickets now
Baby Reindeer at the Bush Theatre, stand-up comedian Richard Gadd’s provocative one-man show about a stalker and complicit victimhood, is darkly exciting.