In the second of our VAULT Festival round-ups, Ana Malinovic sees an Austrian mind-reader and a searing monologue on US racial politics.
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In the first of two VAULT Festival round-ups, we survey two earnest Scotland-set plays and a gloriously silly piece of physical theatre.
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It took ten minutes—probably less—for In the Night Time (Before the Sun Rises), Nina Segal’s debut play about the ethics of parenthood, to break my heart.
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While Owen Sheers’ verse drama about soldiers in Afghanistan has a troubling tendency to tell rather than show, it has moments of real poignancy.
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Anna Jordan’s Bruntwood Prize-winning play Yen is a moving piece of theatre that respectfully illustrates the damaged lives of a group of people, writes Rebecca Latham.
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Xenobe Purvis looks at how Florian Zeller’s The Mother, currently at the Tricycle Theatre, and Lenny Abrahamson’s film Room portray both the joy and claustrophobia of motherhood.
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“Since I’m inarticulate, I express myself with images,” said street photographer Helen Levitt. This dictum could equally describe this evocative exhibition by leading US photographer Alec Soth.
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Looking out through a sash window onto Manchester Square, London W1, our writer Izabella Scott records her impressions of a changing city.
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Morgan Lloyd Malcolm’s new play is a study of toxic girlhood friendships and—perhaps more interestingly—their repercussions later on in life. It is gripping, draining and oddly invigorating.
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The character of Marie in Georg Büchner’s Woyzeck is traditionally dismissed as either a harlot or an irrevelance. Cassiah Joski-Jethi’s play seeks to reclaim her.
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Ibsen is considered a father figure for today’s realist theatre. But this canonisation loses sight of the originality of his voice, argues Xenobe Purvis.
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As the tedium of Wallace Shawn’s latest play sets in, the hard truth becomes inescapable: there is nothing extraordinary about these characters or anything they have to say.
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James Fritz’s Olivier-nominated debut Four Minutes Twelve Seconds is the future of the internet play.
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After seeing Patti Smith perform at the Roundhouse, Victoria Briggs has a few words for her former idol.
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The artist Derrick Harris, forgotten by history, committed suicide in 1960. But his art is vibrant, eccentric and witty. Stephen Hargadon visited his widow and her daughter in London to ...
Theodore Roosevelt and Elvis Presley’s lives did not intersect – but that has not prevented Brooklyn’s The TEAM, from binding them together in a heartfelt psychedelic drama.
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How does Joe Hill-Gibbins’ bold new production of Measure For Measure deal with Shakespeare’s “problem play”? Unproblematically, says Xenobe Purvis.
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This year, the Rose Theatre is staging an ambitious experiment: four different versions of Twelfth Night in rep, each with a different gender permutation. It engages, amuses and disconcerts, writes ...
Hailey Bachrach refused to believe that King Lear With Sheep existed. But then she went. And it was real. King Lear… performed by sheep.
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When Alec Guinness starred in the original 1949 production of T.S. Eliot’s The Cocktail Party, he said: “I don’t know what it means. In fact, I don’t know what meaning ...