James Fritz’s new play is bold, fresh and acutely observed – but also an incredibly uncomfortable theatrical experience.
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Bad Roads – a form of oral history about the ongoing war in Ukraine – is a political act, documenting a shocking reality in a conflict characterized by fakery.
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Emi Howell’s play, about the British-Iranian charity worker currently imprisoned in Iran, is political theatre at its best.
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Lola Arias’s melancholic study of the Falklands War is a strange and poignant show about war and memory.
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Second-time playwright Sharon Raizada takes a good marriage, puts it in a carriage with no seat belts and pushes it down the London rollercoaster.
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Terry Johnson’s portrait of legendary British cinematographer Jack Cardiff is a lovely tale of decline and twilight without an ounce of doom.
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Branden Jacobs-Jenkins’ searing satire on magazine journalism was a finalist for the 2016 Pulitzer Prize for Drama.
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Hir, Taylor Mac’s raucous black comedy about small-town American values and trans politics, is both daringly subversive and very, very funny.
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I saw Anatomy of a Suicide the night of the election. As it turned out, it could have described the results.
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Prostitutes, Politicians, Profiteers is the first UK exhibition of George Grosz – savage lampooner of Weimar Berlin’s monstrous excess – since 1997. Lauren Van Schaik Smith went along.
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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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Ellie Broughton interviews US artist and filmmaker Lynn Hershman Leeson, who has two pieces on display at Ambika P3 as part of the exhibition CASEBOOKS.
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The abortive Soviet designs on display are monuments to the human capacity to dream outlandishly, writes Lauren Van Schaik Smith.
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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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B.L. Sherrington reviews a new stage adaptation of Elena Ferrante’s My Brilliant Friend.
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Don’t be fooled by the red banners and the iconic agitprop: this exhibition is more of an ossuary for failed utopias than a May Day parade.
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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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In our second round-up, a meditation on grieving, a factually-driven examination of the refugee crisis and a tale of loneliness in the social media age.
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In this exhilarating debut, a young man at a crossroads is haunted by a murderous urban fox.
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As London’s VAULT Festival enters 2017, Ana Malinovic samples some of what’s on offer.
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