Running in rep alongside Henry VI: Rebellion (a.k.a. Henry VI, part two), the Royal Shakespeare Company’s Royal Shakespeare Theatre is also currently home to Henry VI, part three. As with the previous part, this third play in Shakespeare’s first Henriad has been renamed – going under the title Henry VI: Wars of the Roses.
In The Doctor at the Almeida Theatre Juliet Stevenson is mesmerising in a brilliantly written ethical debate that is both thrilling and challenging.
Love London Love Culture rounds up the reviews for Anne Washburn’s adaptation based on the television series The Twilight Zone.
Full casting has been announced for the highly-anticipated West End transfer of the Almeida’s production of The Twilight Zone which transfers to the Ambassadors Theatre from 4 March 2019 (press night is 8 March).
Nine Night is a truly fantastic, affecting and entertaining piece of theatre that deserves the space its been given plus more.
We celebrate the fact that Nine Night is the first play by a black British female playwright to make it into the West End, as Natasha Gordon’s debut makes the move from the National’s smallest space in the Dorfman Theatre to the Trafalgar Studios in one giant leap.
Natasha Gordon will take the role of Lorraine in her debut play Nine Night when the critically-acclaimed production transfers from the National Theatre to the Trafalgar Studios on 1 December 2018 (press night is 6 December), running until 9 February 2019.
The social, political and attitudinal changes IVF brought need facing, and the virtually unregulated private-clinic industry challenging. So, good for Jemma Kennedy and Hampstead.
Harry Enfield and Arthur Darvill will lead the cast of Hampstead’s world premiere of Jemma Kennedy’s breakthrough play Genesis Inc from 22 June to 28 July 2018 (press night is 28 June).
It’s astonishing that the National should decide to stage a writer’s first play in the Dorfman Theatre but their confidence in the quality of Natasha Gordon’s Nine Night is justified.
London-born actress Natasha Gordon’s warmhearted play, Nine Night, now making its first appearance at the National Theatre, is as much about family, music and mourning as it is about ethnicity or migration.
It is Natasha Gordon’s mastery of the family dynamic and relationships that makes this debut play, Nine Night such a spell-binding experience.
If there’s any justice in the world, Nine Night will match the success of another Dorfman show – Beginning – by transferring into the West End to get the much wider audience it richly deserves.
Anne Washburn (she of the extraordinary Mr Burns) has fashioned this play out of eight of the stories told by The Twilight Zone and presents them as if shuffling a pack of cards.
Joe Hill-Gibbins’ idiosyncratic 2015 take on Measure for Measure filled the Young Vic with inflatable sex dolls so it should come as little surprise that for his A Midsummer Night’s Dream, he and designer Johannes Schütz have transformed the stage into a muddy paddock.
Which is a roundabout way of saying that Robert Icke’s production of The Red Barn was not the play I thought it would be. And that my initial slightly cool reaction was as much a response to that as it was to the material itself.