However, Dominic Cooke’s production of Emlyn Williams’ play The Corn Is Green makes a good case for reviving it but the real reason to see the drama is for Nicola Walker.
David Hare’s new play is a history lesson. New York city planner Robert Moses shaped the modern city by supplying it with expressways and parkways.
The Merchant of Venice is seen as a problematic play but, increasingly, it seems that the problems are with us, as much as they are with Shakespeare.
Dennis Kelly’s 2005 play After The End is set inside a nuclear fallout shelter, so it is not surprising that it deals with situations beyond the boundaries of what passes for normality.
Sean Holmes’ new production of Hamlet in the Globe’s indoor space opens with a snatch of “Oh mother I can feel the soil falling over my head”, from The Smiths’ song ‘I Know It’s Over’.
The concept is like a Doctor Who plot opened up beyond the confines of a genre, to encompass limitless possibilities. It is both enthralling and disturbing.
Ella Road’s new two-hander is set in the world of track athletics, but the two characters, Ann (NicK King) and Sophie (Charlotte Beaumont) are not just any runners.
For her last production at Sam Wanamaker Playhouse, Blanche McIntyre expertly conjured the life of a city onto a tiny stage. Her Measure for Measure is another city play, but of a very different kind.
Like all theatre companies, the Royal Shakespeare Company has experienced a tough 18 months.
The Jermyn Street Theatre is a tiny place to stage a play that is more usually seen filling all the space on offer at the RSC or the National Theatre, but the scale gives Tom Littler’s production of The Tempest particular meaning.
In the tiny, pub theatre-esque Jermyn Street Theatre Samuel Beckett’s two monologues, Footfalls and Rockaby, exert a powerful hold.
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.
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.
The Young Vic is configured in the round for Changing Destiny, Ben Okri’s adaptation of a 4,000 year old Egyptian myth.
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.
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.
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.
In an empty Almeida Theatre, two heavyweight actors – Adrian Lester and Danny Sapani – bring serious male energy to Lolita Chakrabati’s new play Hymn.
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.
Cut off in its prime in March, Ian Rickson’s Uncle Vanya returns to us from an empty theatre, filmed for cinema release.