Morgan Lloyd Malcolm’s new play is a raw and physical exploration of how motherhood can be tough, and how some mothers can be failed by the system set up to protect their children.
Following on from the brilliant Emilia, Morgan Lloyd Malcolm’s new play Mum is a powerfully bracing experience at the Soho Theatre.
This is Masks And Faces (full title: Masks And Faces or Before And Behind The Curtain) his 1852 play set in the world of the theatrical profession which the Finborough rediscovered and produced in 2004 and is now being presented as a recorded Zoom reading.
The third edition of Royal Court’s Living Newspaper moves online only, with some seriously fierce political writing this time around.
Despite Wolfie at Theatre503 being the first play from Ross Willis and certainly not a flawless one, it demonstrates a laudable ambition and sense of scale.
Ross Willis’ dazzle-bright debut play Wolfie is wild and wonderfully imaginative: innovative fringe theatre triumphs again.
★★★☆☆ Long time coming:
The official Festival’s flagship production of Alan Ayckbourn’s The Divide at the King’s contains multitudes.
The Old Vic today gives a sneak preview of what’s to come in 2018 at The Old Vic during its bicentenary, with dates and full casting announced for the year’s first production: the London transfer of Alan Ayckbourn’s new dystopian family drama The Divide.
Several shows in the running for this year’s Olivier Awards, announced next Sunday 9 April, are also recognised this week in the third-annual Also Recognised Awards – in some notably different categories.
Dialogue heavy but conversationally acute, we eavesdrop on these women in their bathroom, sharing confidences, fantasies, stories of what it is like to be a woman in a society that continually objectifies their sex.
The late Clare McIntyre’s Low Level Panic has a great title for a 1980s feminist drama. In three words she presents the emotional landscape of her play: uncertain, edgy, angsty.
It can’t be too good dodging the dog-shit streets of Splott. It can’t be too easy dodging Effie, the loud-mouth, aggressive inhabitant who has saved us all. Every single one of us. We owe her. And she’s about to tell us why.
New Welsh monologue focuses on the sacrifices demanded from its young female heroine, but what are its politics?