White Pearl at the Royal Court Theatre, a new satire about the cosmetics industry and race, plays with stereotypes but is only mildly funny.
Three new plays by Caryl Churchill and a first mainstage appearance by Bezhti author Gurpreeet Kaur Bhatti are among the highlights of the Royal Court Theatre’s next season, a whole year of work which spans from September 2019 to August 2020.
Cyprus Avenue uses shock tactics to show us the horror within, but it is a comedy with depth, perceptiveness and a touch of genius.
Christopher Haydon, the former artistic director of the Gate Theatre in London, has written the book About The Art of the Artistic Director.
Directed by Vicky Featherstone, David Ireland’s Cyprus Avenue returns to the Royal Court Theatre after a three-year hiatus.
Superhoe at the Royal Court is a bright new monologue about coming of age in the Instagram era that really rocks its youthful socks.
A finely tuned, rapid fire and utterly compelling 100 minutes of theatre. The Cane challenges, provokes and entertains
The Cane, Mark Ravenhill’s latest, represents an investigation that remarkably refuses to follow today’s tropes of outrage and counter-intuitively and presents a different kind of moral ethic.
Mark Ravenhill’s comeback play The Cane at the Royal Court Theatre is a brilliant, complex and mature account of the abuse of power.
Mark Ravenhill’s fascinating new play The Cane at the Royal Court Theatre examines the issues of culpability for small-scale endorsed acts of violence and the nature of justice.
The Royal Court Theatre has announced its new season of work, running from February to August 2019, features the premiere of writer Jack Thorne’s new play the end of history… directed by John Tiffany.
Alun Armstrong, Maggie Steed and Nicola Walker have been cast in the world premiere of Mark Ravenhill’s play The Cane, directed by Royal Court artistic director Vicky Featherstone.
David Ireland’s critically-acclaimed black comedy Cyprus Avenue will return to the Royal Court for a limited four week run from 14 February to 16 March 2019 in the Jerwood Theatre Downstairs.
For all my scepticism about the views expressed by some characters, I decidedly think this is impressive work from a playwright to be taken seriously and it’s only very slightly too long and under-resolved.
Simon Longman’s new play, directed by Vicky Featherstone, is being presented as part of the Royal Court’s Jerwood New Playwrights programme until 10 March. Here’s what critics have had to say about it…
An interesting corrective to those soft-focus romantic images of rural equanimity, in the end, Gundog doesn’t quite come off. But, like grandad’s homily to his family, Longman too has bravely tried to capture something of the eternal and intangible: human attachment to the land.
Like many others, I have my hopes, even expectations, on the change that women may bring. But this is not for me to burden women creatives with. They already have enough of a challenge as it is just to get a break.
It’s conspicuously worthy to try to combine elements of poverty, migration, feminism, dysfunction and dementia but neither Simon Longman’s tedious time-skipping script nor Vicky Featherstone’s static direction can relieve the infectious boredom of Gundog at the Royal Court.
There is nothing about Gundog at the Royal Cout that will make you feel good about where we are today. It is a dark and disturbing tale about the state of play in modern rural Britain. That means it won’t be for everyone, but I was mesmerised.
New misery fest about the hard graft of rural life is symbolic, but it really lacks drama and resonance.