B.L. Sherrington reviews a new stage adaptation of Elena Ferrante’s My Brilliant Friend.
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“Virginia. Her name is practically vagina. Of course, she’s a slut.” It’s New York. It’s infidelity. It’s hilarious.
The play centres around four friends and a hidden secret that reveals itself ...
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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How successfully does Denzel Washington translate August Wilson’s claustrophobic domestic drama to the big screen?
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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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In our latest VAULT round-up, two new writing talents and a unique electronic immersive experience.
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The fractured Abigail at the Bunker Theatre is like watching an episode of Art Attack if the TV had turned off halfway through.
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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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B.L. Sherrington reviews an impressive stage adaptation of Erich Maria Remarque’s iconic 1928 novel.
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Has the digital era of Facebook and Tinder destroyed the game of love? B.L. Sherrington reviews a pair of plays by an award-winning Australian playwright.
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An Inspector Calls is a GCSE staple, but, asks Emily Bueno, does it really have any relevance?
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Camilla Whitehill’s debut play is short, but it sure packs a hell of a punch.
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A Man of Good Hope brings colour and exuberance to the travails of refugees, writes Becky Latham.
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In No’s Knife, Lisa Dwan goes from being Beckett’s interpreter to his intercessor.
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This Marlowe revival is visually spectacular but somewhat superficial.
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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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Its late. Already it’s late. I am hurrying back towards the Royal Mile. The streets are busier than I remember. Difficult to navigate. Surely this, the third press office, will ...
Florian Zeller’s latest is a play for our post-fact, Brexity age.
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