The great thing about Lucy Bailey’s 80-minute production of Oleanna is its sense of balance. And I have to say that it changed my mind about the power balance in the drama.
I finally caught up with Michael Longhurst’s restaging of his 2012 Royal Court production of Nick Payne’s Constellations, a gem of a two-hander.
Jasmine Lee-Jones’ award-winning seven methods of killing kylie jenner transfers downstairs at the Royal Court Theatre.
Moments of dark humour are scattered throughout Edition #6 of the Royal Court’s Living Newspaper but elsewhere it is a bit more hit and miss.
The Royal Court’s Living Newspaper continues with edition #5 which feels a little less reactive to the headlines and a little more reflective on the state of the world as we find it today.
The third edition of Royal Court’s Living Newspaper moves online only, with some seriously fierce political writing this time around.
It’s not that Sarah Kane had magical powers, but that she was with total integrity exploring her question. And there were a lot of amazing questions at that time.
Sneaking in in the nick of time, I catch the delights of the second edition of the Royal Court’s Living Newspaper.
The promise of being “urgent, responsive and fast” may not always be achieved, but at its very best the Royal Court’s Living Newspaper: A Counter Narrative is both pertinent and full of joyous energy.
The first televised Black British Theatre Awards 2020 were a vibrant affair hosted by presenter and comedic actor Eddie Nestor, filmed at London’s Young Vic Theatre and broadcast on Sky Arts.
We are living, I have frequently been told, through weird times. Maybe. But do weird times necessarily require weird art? Do bad times provoke bad art?
The coronavirus pandemic and lockdown has thrown a whole new light on certain plays, the ones about isolation, loneliness and surreal landscapes.
Five minutes ago, I finished watching Cyprus Avenue and I am bursting to write something, anything, down.
Not to let a decade of theatre bloggery go by without marking the occasion, to kick things off, I’ve compiled a list of my favourite play for each year I’ve been blogging. It has been fun revisiting my best-of lists but absolute agony narrowing each list down to just one.
Shoe Lady at the Royal Court is not the most involving play in the world, but it does have an evocative resonance.
Shoe Lady is an intriguing and well-considered examination of the social and domestic pressures placed on women to perform multiple and often contradictory roles in our society.
If the intimate play A Number feels a bit lost in the vast space of the Bridge, the performances are big enough to give it the required punch.
As rap and spoken word emerge as the primary storytelling modes in Poet in da Corner, along with some evocative dancing, there’s a compelling sense of the potential of what theatre can be.
Andrew Scott, Sharon D. Clarke, Juliet Stevenson, Sam Tutty and Hammed Animashaun have won the top acting honours at the 2019 Critics’ Circle Theatre Awards.
The entire seventy minute show feels like a pan on the boil, continuously moving and flowing and engaging. Poet in da Corner is funny, truthful, inventive and really worth seeing.