Jamie Lloyd’s terrific Pinter season, at London’s Harold Pinter Theatre, climaxes with a revival of Betrayal, arguably one of the writer’s more personal pieces and one of his most innovative and beguiling.
Mike Leigh’s classic Abigail’s Party is back in the theatre with its irrepressible hostess, Beverly Moss, handing out gin and tonics and cheesy-pineapple nibbles to the sounds of Demis Roussos.
Athol Fugard’s blistering drama, A Lesson From Aloes, which proved so contentious that it was almost banned in the 1970s, has been revived to coincide with the 25th anniversary year of the first free and democratic elections in South Africa.
Noël Coward’s A Song at Twilight may be billed as a comedy but this story of one man’s fear of mortality and exposure, is tinged with tragedy. The Theatre Royal Bath’s polished production, which is currently touring the UK, glories in Simon Callow’s exquisite enunciation.
Pulitzer Prize-winning writer Stephen Adley Guirgis doesn’t pull any punches with his tough, uncompromising prison drama Jesus Hopped the ‘A’ Train at the Young Vic Theatre.
Adapter Joel Harwood and director Tom Scutt have wisely spattered plenty of black comedy throughout their superbly tense production of Berberian Sound Studio.
Journalist, theatre critic, university lecturer and playwright Patrick Marmion plunders Moliere’s Tartuffe and borrows a smidge from Shakespeare and Euripides for his latest offering, a comedy called Keith? at London’s Arcola Theatre.
Possibly, in part, autobiographical, Gently doesn’t so much meander into London’s Park Theatre, but gushes uncontrollably, simultaneously unleashing a torrent of laughter, hurt, pain and undeniable pleasure. This astonishing production, directed by Sean Mathias, is a triumph.
Playwright Torben Betts has come up with a new recipe for his haute cuisine comedy, Caroline’s Kitchen, tinkering with the ingredients to create a new dish about depression and discontent in the home of a masterchef.
Pinter at the Pinter reaches its climax with Pinter Seven featuring an enigmatic and occasionally baffling radio play, A Slight Ache, and a real highlight in an already remarkable season, The Dumb Waiter.https://mytheatremates.entstix.com/tickets/dumb-waiter-slight-ache
Losing your job can affect people in different ways but Judy Martin retreats into a 1950s Twilight Zone in Laura Wade’s surreal, bittersweet, comedy Home, I’m Darling which opened this week at the Duke of York’s Theatre.
Gentleman Jack and Taro, both written by Ross McGregor, artistic director of Arrows & Traps Theatre Company, celebrate wildly different women but, at their heart, they share a common theme.
Violet is heartfelt and hopeful, the songs are infectiously good with a mix of hillbilly, honky-tonk, gospel and traditional country, and the show features powerful performances from the entire ensemble.
What I watched in Stop & Search has less to do with stop and search and more a jumble of thoughts and ideas thrown up in the air and left to sort themselves out into some semblance of a play.
There are no balloons or party poppers but a good time is guaranteed with Party Time and Celebration, a standout Pinter Six from the consistently strong Pinter at the Pinter season in London’s West End.
If you want to understand why working-class Americans voted for Donald Trump or even why people in Sunderland voted for Brexit then look no further than Lynn Nottage’s complex, urgent and moving play new play, Sweat.
Borrowing a technique from American long-form TV drama, The Tragedy of King Richard The Second begins in medias res. The wonderful Simon Russell Beale steps forward, ashen-faced, to deliver the “I have been studying how I may compare/This prison where I live unto the world” speech from Act 5.
The riotous musical comedy Murder for Two is back at The Other Palace Studio for a second season and it has been likened to “Agatha Christie meets The Marx Brothers over a game of Cluedo”
Journalist and playwright Jonathan Maitland will be kept on his toes rewriting his latest play, The Last Temptation of Boris Johnson, nightly to ensure it keeps up with the politician’s ever-changing world.
Neil McCormick’s autobiography has now been turned into an engaging new musical play, Chasing Bono, which has opened at London’s Soho Theatre.