There is a disconnect between the direction and the script that permeates this production of Dirty Crusty at The Yard Theatre.
British plays attempting to criticise America’s gun problem often come across as distant and condescending, but American Sarah Kosar shows in Armadillo that as awful as gun culture is, it is not a black and white issue
The Yard Theatre presents a modern production of Arthur Miller’s The Crucible. Directed by Jay Miller, this new interpretation of The Crucible begins as a storytelling.
Despite a three-hour running time, this production of The Crucible is pacy and tense enough to be completely enthralling. Thanks to the power of the play itself, some interesting creative decisions and brilliant performances, as a whole the show is utterly bewitching.
I finally saw sense — or admitted defeat, depending on how you look at it. After what feels like a lifetime of chasing my tail as I tried to see everything – or at least everything that was hotly tipped and/or well-reviewed — I simply gave up the battle.
There are some moments of brilliance in A Kettle of Fish and the structural disintegration is impressive, but sometimes the experience is unpleasant what with its confusion and instability rather than that of excitement and adventure.
RashDash’s female-centred, millennial take on Chekhov’s story of three women trapped in the Russian countryside pining for their old lives in Moscow is a gloriously irreverent and refreshing interpretation.
Picking at the scab of the Brexit vote and the ongoing refugee crisis, Muthy reveals the kind of festering wound that is shocking to see, even as it has infected so many levels of our society.
Trying to write about Chris Goode’s latest Ponyboy Curtis show vs. is like trying to fit a hurricane into a canning jar. The energy, love and freedom on the Yard’s stage is irrevocably alive and unrestrained, and trying to pin this one-of-a-kind butterfly onto a page kills it a little, or a lot.
National Youth Theatre announces its 2017 programme, including its latest West End repertory and its first-ever East End season at London’s Yard Theatre in Hackney.
Deborah Pearson sits behind a desk, with a black and white 1950s foreign film playing in the background, reminding us that this film could easily be amongst the series of choices that result in us being present to watch.
A random collection of props surround a sacred circle of light, the protective performance space for Julie Rose Bower. In here, she can recreate sound, loop it round and round with a dulling monotony.
Yes, it is in many ways the most bizarre opening to a production I’ve ever witnessed. Each time an ad break rolls on, there is the expectation that the clip will stop and the play will begin.
How to create a satirical, multimedia performance, inspired by How To Come Out Black: Pick a popular topic that is relatable and highly commented on.
Critic Matt Trueman described Elinor Cook‘s Pilgrims, about a pair of young mountain climbers, as the “peak of playwriting”. I got to talk mountain climbing, metaphors and much more with this whipsmart George Devine Award-winning playwright at last night’s Q&A after the performance of Pilgrims at London’s Yard Theatre.
For better or worse so much of our life, personality and choices are shaped by relationships with family. A stable, loving upbringing can equip an individual with the same traits, and the opposite often ushers in a lifetime of hardship. House + Amongst the Reeds are two short plays presented as a double bill by Clean Break showing the consequences of family disruption on the lives of young people.
Alexander Zeldin’s perception of life on the lowest rung of the employment ladder is precise, darkly comic and painstakingly accurate.