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Angry is an anthology of monologues by Philip Ridley, perhaps Britain’s most distinctive living playwright.
In 1958, The Birthday Party was so widely panned it closed after eight performances. Sixty years later, enjoying one of the starriest revivals in the West End.
This controversial Andrea Dunbar revival could easily have been unwatchable in the current climate, but on the whole it has a surprising lightness of tone.
James Fritz’s new play is bold, fresh and acutely observed – but also an incredibly uncomfortable theatrical experience.
I must admit I am a big crier at the theatre, but Streetlights, People! Productions’ take on Adam Gwon’s 2009 Off-Broadway sleeper hit deserved every tear that was shed.
I was kneeling handcuffed on the floor of a church in a knitted red balaclava – not my average Thursday evening by a long shot.
Two plays in nightly rep wrestle with radicalism and violence.
Neil Bartlett’s take on Albert Camus’ seminal novel is bold and effective – even if it sacrifices some important scenes in the name of economy.
John Webster’s The White Devil, writes Simon Fearn, must be one of the most cynical plays in the canon.
Director Jamie Lloyd’s Philip Ridley production is high on drama and tension, yet nothing new is teased out of the text or re-evaluated in a modern context.
Lucy Kirkwood’s latest effort is as much about people as about the environment, writes Simon Fearn.
Simon Fearn gives his final round-up from the Edinburgh Fringe.
Simon Fearn rounds up five shows at the Edinburgh Fringe.
The story of violinist Haïm Lipsky’s post-Auschwitz recovery drew tears from the audience.
In the days since I’ve left the theatre I’ve become increasingly fixated with X.