The play follows Pierre, a successful surgeon who’s married and the father of a grown-up daughter, as he juggles his professional and family life with having a mistress.
Fair Play is set in the world of female athletics. Ann joins a running club, meets Sophie, and the two bond over their love of running.
As the stage was plunged into darkness at the end of Manor on the National Theatre’s Lyttelton stage, I was thinking: What was the point?
Three Kings, beautifully written by Stephen Beresford, gives Andrew Scott even more scope to sprinkle his performance magic. Created especially for the Old Vic’s In Camera season, it is described as a scratch performance but only the lack of embellishments like set and fancy lighting give any sign of this.
Harriet Madeley’s The Colours is a verbatim play based on interviews with people with life-limiting illnesses and those working in palliative care.
Anna at the National Theatre is a taut thriller and an interesting and different play watching experience.
Cillian Murphy and writer Enda Walsh’s collaborations on stage tend to lean towards the surreal and avant-garde and Grief Is The Thing With Feathers is no exception.
Meaningful debate, clever thought and persuasiveness get overshadowed by ego manifested as sneering, sarcasm and physical violence.
It’s a story that sweeps you up in a mixture of warmth, humour and tragedy.
Award-winning writer/director Kat Woods returns to the Edinburgh Fringe with Killymuck. Here she talks about breaking working-class stereotypes – and why you should always perform like it’s press night.
Until recently I was working in the basement of an advertising agency. Oh how the mighty have fallen, as I was once a budding freelance copywriter for the company’s thriving ‘verbal identity’ team, having blagged my way in with no experience, just when the BBC had bought one of my TV comedy scripts. I was as an American agent once described ‘ packing some heat.’