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.
Freeman is a startling and exceptional piece of theatre and its run in Streatham was a coup for the still relatively new Streatham Space Project theatre.
Human Jam is precisely the type of show Camden People’s Theatre should be producing: fully engaged with its community, angry but imaginative, chaotic and messy, and shining a strong, searching light on those in power.
Rebecca Frecknall’s rich production of Three Sisters takes place in a bubble of unreality, both alluring and doomed to burst.
Ridiculusmus is at the top of their game and Die! Die! Die! Old People Die!, complete with fart jokes, is an absolute must-see for anyone who wants to be awed by what two men on a small stage can achieve.
Dougie Blaxland’s taut, probing and beautifully structured play The Long Walk Back explores Chris Lewis’ rise and fall, one that is unique in the world of cricket and without many other sporting parallels.
Bruce Norris, previously best known for race drama Clybourne Park takes on social taboo issues without a pause.