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.
Adapted from Ruben Östlund’s film, Force Majeure is an exercise in family breakdown set among a group of well-off Swedes on a skiing holiday.
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.
Cush Jumbo’s Hamlet has been a long time in the making. In fact, what with the pandemic and the Young Vic’s long lead times for shows (which allow for some serious forward planning), I booked my tickets around three years ago.
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.
As soon as the title number’s patter chorus kicks in, there’s a smile on every face at the Barbican Centre, where Cole Porter’s Broadway classic Anything Goes runs until 6 November 2021.
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.
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.
The online release of productions from Druid Theatre’s 2005 season of JM Synge’s complete works is a lockdown boon.
The Battle of the Beanfield is the first show by Breach Theatre, now known for the excellent It’s True, It’s True, It’s True about Renaissance artist Artemisia Gentileschi.