Almost two years after it was first performed in Edinburgh in 2014, Rona Munro’s cycle of Scottish history plays remains a heady brew.
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For a play about a suicidal woman, Terence Rattigan’s play is remarkably funny.
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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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In recent years, we have seen a resurgence of “plays with music”. Burn Bright Theatre’s ambitious revival of Vernon God Little is an excellent example of the genre.
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Switching between 1945, 1990 and 2011, Tena Štivičić’s 3 Winters is a sprawling yet intimate portrait of family conflict amid the warp and weft of Croatian history.
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At the time that Behind The Beautiful Forevers – about the slum-dwellers of Mumbai – opened at the National Theatre, Band Aid faced criticism for their ultra-emotive portrayal of poverty. ...
Last week, the National Theatre suddenly announced that Richard Bean’s phone-hacking satire Great Britain would open five days later. But can theatre really achieve a sense of topical immediacy?
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Tara Isabella Burton is a devotee of immersive theatre: when Punchdrunk’s Sleep No More was in New York, she saw it nine times. So how did their latest show, at ...
