In 2005, Mike Bartlett’s formally experimental Not Talking found a home on BBC Radio 3 after being rejected from multiple theatres. In 2018 – amazingly – it is being performed ...
Angry is an anthology of monologues by Philip Ridley, perhaps Britain’s most distinctive living playwright.
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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.
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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.
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James Fritz’s new play is bold, fresh and acutely observed – but also an incredibly uncomfortable theatrical experience.
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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.
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I was kneeling handcuffed on the floor of a church in a knitted red balaclava – not my average Thursday evening by a long shot.
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Two plays in nightly rep wrestle with radicalism and violence.
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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.
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John Webster’s The White Devil, writes Simon Fearn, must be one of the most cynical plays in the canon.
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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.
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Lucy Kirkwood’s latest effort is as much about people as about the environment, writes Simon Fearn.
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Simon Fearn gives his final round-up from the Edinburgh Fringe.
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Simon Fearn rounds up five shows at the Edinburgh Fringe.
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The story of violinist Haïm Lipsky’s post-Auschwitz recovery drew tears from the audience.
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In the days since I’ve left the theatre I’ve become increasingly fixated with X.
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