The BBC film version of a Renaissance rape trial is powerfully resonant, relevant and a riveting watch.
These shows, originally filmed as part of the flagship’s NT Live project, are now available on its YouTube channel. The first is Richard Bean’s gloriously silly farce, One Man, Two, Guvnors, starring the irrepressible and Tony-award winning James Corden.
Theatre veteran and The Dock Brief director David Tudor tells us about working with John Mortimer, why his writing is timeless and what he’s learned over the years.
John Mortimer’s hilarious tale of an unsuccessful barrister and an unsuccessful criminal, The Dock Brief, will receive a revival at the Cockpit Theatre later this spring. Time to get booking!
Following Boris Johnson’s promotion to prime minister, the trailer for satire Boris Rex has taken on new levels of meaning. Have a watch, and take a look at images from the show, then book your tickets.
Soon after he might have been crowned the new Prime Minister, Boris Johnson and his rise to power will be satirised Shakespearean style on the London stage, when Brighton Fringe hit Boris Rex comes to the Tristan Bates Theatre. Book your tickets now!
What fiendish fashion will the cast of Bride of Wankenstein be wearing when they take to the Hen & Chickens Theatre stage from 9 to 13 October 2018? We can only guess from these behind-the-scenes images of their costume fitting. To see the costumes these evil geniuses have created, you’ll have to book tickets.
Heartwarming debut play about young teen love is very good fun, if a bit slender and insubstantial.
Anniversary revival of Joe Orton’s black farce about money and death is a delight from start to finish.
New American drama about God and violence is a bit baggy, but it is also often brilliantly perceptive.
Written as a response to George W Bush’s Republican Party’s war on terror following the attacks in September 2001 only 12 years after this play’s premiere America seems to be run by a God of Hell now whilst Bush, in hindsight, seems like a competent clown.
This play’s subject is alienation, at work and in the home. (But mainly at work.) In contemporary society, office work seems to symbolize a life of modern drudgery.
Hir is set in a settlement somewhere in California’s Central Valley, where plywood houses have been built on landfill sites, and dozens lie empty, abandoned during an economic downturn. All is not well in the Connors’ cheap abode: fiftysomething Arnold is a plumber who lost his job to a Chinese-American.
In this general election, the intergenerational conflict between youth and old age is never far from the surface. The oldies have never had it so good; the young ones are Generation Rent, crippled by debt and zero hope of owning their own homes. This aspect of the housing shortage is the subject of Matt Hartley’s play, Deposit.
This is phenomenal. And pretty wild. Branden Jacobs-Jenkins’s An Octoroon is the most intelligent and most theatre-savvy play on today’s London stage: it is a satire on staging race, an account of black identity, a criticism of plantation life, a celebration of genre fun and a tribute to a forgotten work from the Victorian era.
The Treatment has often been ignored, perhaps on account of its large cast, or because of its large scale. Now that the Almeida Theatre has decided to stage this story of how art cannibalises life we have the chance to judge its relevance some 25 years after its premiere.