There is a stillness that descends over a theatre audience when they are gripped and fidgeting when they aren’t. In the first half of The Breach at Hampstead Theatre, the audience was fidgeting.
Gloria has taken refuge in her attic, distracting herself from the dark winter months and grief by playing punk and dictating entries for her memoir into her laptop.
The family at the centre of the story is that of Richard Myers (Robert Lindsay), an eminent geneticist who now has Parkinson’s Disease.
In Jonathan Crewe’s play Under the Radar, female journalist Lee Stilling (Eleanor Hill) is profiling male inventor Martin Christensen, who has built his own submarine.
Anthony McCarten’s new play The Collaboration at the Young Vic kicks off as you arrive in the auditorium with an 80s DJ set. It’s toe-tapping, hip and creates a party, edgy, youthful yet nostalgic atmosphere.
Henry V opens with a burst of energy at a club with a worse for wear party prince. It’s lifted from Henry IV part 2 and is an important reminder of Henry V’s past and subsequent transformation into a serious king.
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.
Alistair McDowall’s The Glow at the Royal Court is a play I’ve had to ponder – a lot – and I still don’t have any firm conclusions.
The Donmar Warehouse’s stage has been converted into a French ski resort for Force Majeure.
Peggy Ramsay is a play agent, but she is more famous than the playwrights and the work that she represents.
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?
Al Smith’s new play Rare Earth Mettle at the Royal Court is a meaty piece that covers a lot of ground.
The play is set in rural America, where a mother (Stockard Channing) and daughter Jessie (Rebecca Night), who has epilepsy, live together.
Are you allowed to call yourself a theatre fan if you haven’t seen The Mousetrap, the West End’s longest-running play? Possibly. But I’ve ticked that box now.
The Normal Heart is a play of fights. Set in the early 1980s in New York, gay men are dying, but gay activist Ned Weeks is struggling to get anyone to do anything.
Two actors on stage describe their characters as if the direction in the playtext is part of the script. It is the first of many quirks in Aleshea Harris’ dark revenge comedy Is God Is.
Chloe Nelkin has run theatre, arts and opera PR company, Chloe Nelkin Consulting, for 10 years, and we sat down to talk about how theatres responded during lockdown and what the legacy will be. I also asked her what we should look out for and what she’s most looking forward to seeing.
The three sisters in Shelagh Stephenson’s play The Memory of Water – Teresa (Lucy Black), Mary (Laura Rogers) and Catherine (Carolina Main) – have gathered at their mother’s home ahead of her funeral.
The Two Character Play at London’s Hampstead Theatre was at times interesting and enjoyable and at others frustrating and perplexing.