So bizarre and unlikely is the story behind the creation of this play that one wonders whether writer Jonathan Holloway has time-travelled himself!
Gloriously surreal monologue about everyday anxieties in extraordinary circumstances: welcome back the glittering dark!
Ella Road’s resonant new play about genetics, The Phlebotomist, is mostly well-written and gets an exciting staging.
Alan Ayckbourn’s epic, very, very long satire on religion and sexual segregation prefers comedy to tragedy.
Imagine a production of Waiting for Godot with more characters, set in space, where the audience chooses the outcome of the story. What you are picturing is probably gloriously weird and kitschy.
One of the reasons that Philip Ridley is the crown prince of imaginative playwriting is that he came at theatre from leftfield. In the 1980s, he didn’t go to drama school — he went to art college instead. This freed his mind from following established theatre conventions, and so anything was possible.
Latest trio of monologues from Philip Ridley are performed in the dark: both chilling and humorous.
In recent years, tales of space travel have been making more of an appearance in theatre. Space Play looks at the aftermath of orbital collision with space debris, inspired by the events of the film Gravity.
Jim Walters is the first person sent to colonise Mars. But when a global apocalypse occurs, trapping him in the Earth’s orbit and running out of oxygen, he and his guitar are left to broadcast music to the devastation below. Can anyone hear him? Are there any survivors? Will he ever know?
Philip Ridley’s latest is an ambitious fantasy epic whose scope and majesty will blow you clean away.
New one from Nick Payne explores brain science and female relationships, but is just a bit too superficial.
Alistair McDowall’s follow up to his big 2014 hit Pomona is less dazzling, but more emotionally desolate and ambiguous.