In the tiny, pub theatre-esque Jermyn Street Theatre Samuel Beckett’s two monologues, Footfalls and Rockaby, exert a powerful hold.
‘A sad & elegaic play that seems to have gained significance’: HOME – Chichester Festival Theatre
Although David Storey is a somewhat forgotten writer, wildly successful from the late 1960s to the late ’70s as both a playwright and novelist, but then just as suddenly out of fashion, Home is the play that is consistently revived.
‘Raw history not yet ready to be consigned to the past’: THE NORMAL HEART – National Theatre
First staged in 1985, just before the AIDS epidemic had fully entered public consciousness, Larry Kramer’s The Normal Heart rails against the refusal of US authorities to acknowledge anything was wrong.
‘Charming performers fill the stage heroically’: CHANGING DESTINY – Young Vic Theatre
The Young Vic is configured in the round for Changing Destiny, Ben Okri’s adaptation of a 4,000 year old Egyptian myth.
‘A powerful play from an author we need to hear’: LAVA – Bush Theatre
The lava in the title of Benedict Lombe’s new, fierce, autobiographical play is anger. It flows over the stage, filling the crevasses of the set, and through Ronkẹ Adékoluẹjo’s smouldering performance, which soon bursts into flame.
‘In most respects a treat to watch’: UNDER MILK WOOD – National Theatre
The National Theatre’s staging of Under Milk Wood is far from the first time Dylan Thomas’ poem has been adapted for the stage. It’s easy to see the temptation to perform a work so packed with characters, drifting through a strange, semi-mythical setting encountering one another.
‘One of the most absorbing & significant plays every written’: HAPPY DAYS – Riverside Studios
Samuel Beckett’s Happy Days is, as Lisa Dwan observes, often described as ‘the female Hamlet’. Dwan has played every other female Beckett lead but even she was intimidated by a role previously inhabited by Peggy Ashcroft, Brenda Bruce, Fiona Shaw and Juliet Stevenson, among others. It is understandable. Happy Days, first performed in 1961, is a mighty play, and 60 years later still unlike anything you’ve seen.
‘The writing is nuanced & structured’: HYMN – Almeida Theatre (Online review)
In an empty Almeida Theatre, two heavyweight actors – Adrian Lester and Danny Sapani – bring serious male energy to Lolita Chakrabati’s new play Hymn.
‘Powerful, funny & thoroughly engaging’: NAKED – Cockpit Theatre (Online review)
NAKED is a powerful, funny and thoroughly engaging piece of physical theatre. It is the first show from performers Luke Vincent and Paige-Marie Baker-Carroll of the NAKEDpresents queer collective.
‘We are transported somewhere far from Covid’: UNCLE VANYA – Harold Pinter Theatre (Screening)
Cut off in its prime in March, Ian Rickson’s Uncle Vanya returns to us from an empty theatre, filmed for cinema release.
‘A remarkable play’: LES BLANCS – National Theatre at Home (Online review)
The National Theatre’s 2016 production of Les Blancs was directed by Yaël Farber and used the full resources of the Olivier stage to transmit its full force.
‘A strangely disconcerting play’: PLAYBOY OF THE WESTERN WORLD – Druid Theatre (Online review)
The online release of productions from Druid Theatre’s 2005 season of JM Synge’s complete works is a lockdown boon.
‘It is immediately clear how prescient it was’: THIS HOUSE – National Theatre (Online review)
The chaos of national politics in the mid-1970s seemed light years away in 2014, but how arrogant that assumption seems now.
‘A fascinating body of work’: I, Peaseblossom / I, Banquo (Online review)
Tim Crouch’s series of performances as overlooked characters in Shakespeare is a fascinating body of work. He has been developing these one-man shows (with assistance) for more than 15 years.
‘They are the only tangible reminder of experiences that live powerfully in the memory’: My collection of 57 years of RSC programmes
I have been collecting these for at least 35 years and now have a nearly complete set of post-war programmes from the Stratford theatres (if anyone has a hoard of uber-rare, early programmes from The Other Place, I need to know).
‘Patsy Ferran is a treat’: TREASURE ISLAND – National Theatre (Online review)
The excitement still builds on a Thursday night, when many of us sit down to watch theatre as though it was analogue television in the four-channel era.
‘The evening is enjoyable for its cast’: THE CUTTING EDGE – Arcola Theatre
Despite the combined skills of its performers, The Cutting Edge lacks pace and drive and the key moment of crisis, which always seems around the corner, never arrives.
‘Dramatic & engrossing’: THE INCIDENT ROOM – New Diorama Theatre
The Incident Room is a multi-layered and satisfying drama, a proper assessment of a story that gripped, terrified and obsessed the nation. This excellent production confronts our dark past head on.
‘Cuts to the heart of what it is to have a voice’: CINNA – Unicorn Theatre
I, Cinna is a small masterpiece of unshowy writing and performance that is some of the best small-scale theatre of its time, equally satisfying to audiences of young people and adults.
‘Pitch perfect’: FAR AWAY – Donmar Warehouse
Caryl Churchill wrote Far Away in 2000 and, 20 years on, it feels more current by the moment.