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.
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.
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.
In our continuing series, editor Lisa Martland picks out some of her Top Picks from the last week of theatre (to 16 February 2020) including Maryam Philpott’s thoughts on Tom Stoppard’s new play Leopoldstadt at the Wyndham’s Theatre.
Caryl Churchill wrote Far Away in 2000 and, 20 years on, it feels more current by the moment.
The company in People Show 137 has an admirable ability to conjure moments that capture the audience’s attention and to deliver about turns that keep the audience intrigued.
Holy What’s version of Antigone is about the two teenage girls at the heart of the play, Antigone herself (Annabel Baldwin) and her sister Ismene (Rachel Hosker).
Gregory Doran’s RSC production of Measure for Measure is a subtle and absorbing account of a play that gets weirder with every viewing.
In our continuing series, our editor Lisa Martland picks out some of her Top Picks from the last week of theatre (to 17 November 2019) including Ian Foster’s delight at the arrival of Mary Poppins to its original West End home.
When The Crows Visit is a powerful new play, and Indhu Rubasingham’s production is a notable success for the Kiln Theatre.
In our continuing series, our editor Lisa Martland picks out some of her Top Picks from the last week of theatre (to 20 October 2019), ranging from Olivia Mitchell’s thigh-slapping joy on seeing Noises Off to Libby Purves’ plea that we listen to the story being told in [Blank] at the Donmar Warehouse.
Brian Friel’s Translations is a rich and complex play and, in Ian Rickson’s production which returns for a second run in the Olivier, its layers are drawn out through the performances of a high class ensemble ensemble.
Glass. Kill. Bluebeard. Imp creates an essential piece of new writing – edgy, haunting and disconcertingly relevant and Caryl Churchill, at the age of 81, is still the playwright for our times.
Bartholomew Fair is full of energy and highly entertaining throughout, while making no attempt to glamorise the city’s underbelly.
Robert Icke’s final production for the Almeida, after spectacular successes including Mary Stuart, Andrew Scott’s Hamlet and The Wild Duck, is a complete reworking of a play by Arthur Schnitzler. He rips the original play, Professor Bernhardi, out of its turn-of-the-century Vienna setting, and drops it into the information age in The Doctor.
In Sea Sick Alana Mitchell tells, in an engaging lecture, the story of how she, as a journalist, came to be investigating this little known, devastating climate change phenomenon.
A fierce indictment of cuts and callous indifference, Who Cares? comes straight from the mouths of young carers in Salford.
Ned Bennett has created an entirely compelling evening, which reveals new layers to Peter Shaffer’s play Equus that we can now only see because we have changed as a society since it was first performed – a sure sign of a classic.
Samuel Adamson’s take on A Doll’s House is an ambitious play, sometimes overly so, which delivers fascinating moments but has a tendency to fall short.